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Strum & Thrum: The American Jangle Underground 1983-1987

    "Strum & Thrum: The American Jangle Underground 1983-1987 is the first volume of Captured Tracks’ new venture into compilations – Excavations. Dedicated to compiling forgotten music from the 1970s – 1990s that has a connection to Captured Tracks’ sound and aesthetic, this series will bridge the past to our current roster and showcase the kinds of sounds that inspire us. As an American label, we’ve often wondered why British, Aussie, and Kiwi indie rock from the ‘80s has had the most infuence on modern acts and the collector’s market. Outside of bands like R.E.M., the Rain Parade, the Dream Syndicate, and a few others, most of these bands received little attention from national or international press outlets and markets. The acts on this compilation have a true DiY spirit that lead many of these bands to self-record and self-release within tiny local scenes in small cities and college towns across America.

    Strum & Thrum aims to shed light on this forgotten era of jangly, melodic rock music that emerged from the ashes of post punk and helped kick start the indie rock boom of the early ‘90s that continues to this day. Indeed, many artists featured on Strum & Thrum went on to be part of this boom – Archer Prewitt from the Sea & Cake, Jon Ginoli from Pansy Division, Ric Menck from Velvet Crush, Brent Rademaker from Beachwood Sparks, Barbara Manning, and more went on to be in well known bands in the ‘90s. Spread across two LPs, Strum & Thrum includes an 80+ page booklet with an extensive oral history of the ‘80s indie scene, an introduction by Captured Tracks label head Mike Sniper, and tons of archival images and ephemera. Long live the jangle underground!"


    TRACK LISTING

    Disc 1:
    1. The Reverbs - Trusted Woods
    2. Start - Where I Want To Be
    3. Cyclones - I’m In Heaven
    4. Windbreakers - All That Stuff
    5. Primitons - All My Friends
    6. Bangtails - Patron Of The Arts
    7. The Love In - Late As Usual
    8. Sex Clark Five - She Collides With Me
    9. Three Hits - 5 O’Clock
    10. Crippled Pilgrims - Black And White (Alternate)
    11. Vandykes - Breakin My Heart
    12. Salem 66 - Seven Steps Down
    13. The Outnumbered - I Feel So Sorry Now
    14. The Darrows - Is It You

    Disc 2:
    15. Riff Doctors - Say Goodbye
    16. The Ferrets - She Was Unkind
    17. 28th Day - Pages Turn (Alternate)
    18. Great Plains - When Do You Say Hello?
    19. Downy Mildew - Purple Parlor
    20. The Strand - You And Me
    21. The White Sisters - Misery, Me, & You
    22. Absolute Grey - Remorse
    23. One Plus Two - Promise
    24. The Springfields - Sunflower
    25. Holiday - Change
    26. Pop Art - The Meeting
    27. The Reactions - Tomorrow’s Time Today
    28. A New Personality - Essential Things

    Alex Calder

    Alex Calder

      It’s surprising that Alex Calder’s self-titled album is only his sophomore long player effort, considering the prolifically consistent stream of lo-fi weirdo psych-pop he’s put out since his introduction via 2013’s ‘Time’ EP.

      While the forthcoming album remains true to Alex’s sonic aesthetic, it is a release that clearly exemplifies a moment of artistic evolution and expansion in both influence and the writing and recording process. Alex found himself frequently revisiting Paul Thomas Anderson and old anime films while writing and drawing influences from Stereolab, Broadcast, Pavement, Arthur Russel and Kate Bush, to videogame soundtracks such as ‘EarthBound’ and ‘Zelda Ocarina Of Time’.

      “I felt more confident saying things in my songs I actually want to say this time. Things I was scared to sing about before seemed a lot easier for these songs.” Perhaps this is due to the year he spent re-working and perfecting demos until they blossomed into fully-formed, dynamic songs - a process far from the more visceral, off-the-cuff approach he’d taken with his earlier work. “All of my music before has essentially just been demos I’d made at home, and then they end up being records.” This time around, Alex took time and space for himself to discover a greater level of expressive intent behind his lyrics and musical compositions.

      A contrast between sound and lyrical meaning is a friction retained consistently across the album’s 12 tracks and this album-long meditation on duality is certainly intentional as Alex explains, “I’m hoping people notice that this is a somber record, but not meant to be a depressing record. I want someone to listen to my music in headphones in their bed if they are having a bad day or to put it on in the background at a house party to heighten the mood.”

      It’s fitting, really, that this album be self-titled, as it is a kind of proclamation of self for Alex, an expression, or admonition really, of who Alex Calder is - the good and the bad, the sad and the goofy, someone who loves to joke around but is still capable of being serious and expressing himself more personally. For Alex, these dualities are not contradictory but almost symbiotic - “I feel like the two go hand in hand. It’s a classic sad clown thing.”

      TRACK LISTING

      Operator
      Morning Ritual (ft Caroline Levasseur)
      Noticing Me
      Another Me (ft Caroline Levasseur)
      End Of Time
      Death Beside Me
      Sleep Like This
      Loosen Up
      Slowing Down
      Fading Away
      Half An Hour (ft Garrett Johnson)
      Goodnight

      Dinner

      Dream Work

        After a four-year hiatus exploring ambient and meditation music, Danish multi- instrumentalist Anders Rhedin has returned to his indie roots. Dream Work, his third album as Dinner, is a lush collection of synth and guitar-laden indie pop that expertly channels Ryuichi Sakamoto, early British indie, and the sound of water.

        Like most worthwhile pursuits, the path to Dream Work hasn’t been straight. After signing to Captured Tracks in 2014, he released a series of synth-based avant-pop albums and toured the world with the likes of Mac Demarco, Sean Nicholas Savage, Prince Rama, and King Gizzard, all while splitting his time be - tween Berlin, LA and his native Copenhagen. This whirlwind period ended when, following the release of 2017’s New Work, Rhedin relocated to Copenhagen and took a step back from the Dinner project in order to explore his long standing personal interest in ambient production and guided meditation. Over the last few years, he’s released a series of ambient releases under his own name geared towards meditation, sleep, and relaxation. He’s also led live guided sound baths and meditations at art museums, churches, and rooftops all over the world.

        The time away proved fruitful - returning to the Dinner project with fresh eyes, Rhedin sought not to reproduce his previous style, but rather to integrate these two components of his body of work. As a result, Dream Work sounds at once classic and entirely new; a deft balance of Rhedin’s trademark electro-pop with the meditative and organic elements of his ambient work. From the melancholy acoustic guitar and downtempo synth melody of “Spirit Voices” to the ethereal refrain on “Connection”, Rhedin washes his pop songwriting in dark, dreamy tex - tures. These textures lend cohesion to the far-reaching collection - Dinner effort - lessly floats from Stereolab-like electric guitar (“Anima”) to twinkling synth-pop (“Midnight In My Head”) to fluid ambient (“Drøm”) in the span of just 34 minutes. Contributions from labelmates Molly Burch and Charlie Hilton as well as Lina Tullgren, Nicolai Koch help bolster this quality: much like Rhedin himself, Dream Work feels well-traveled even when it’s standing in place.

        TRACK LISTING

        1. Midnight In My Head
        2. How We Talk
        3. Big Empty Sky
        4. Like You Said
        5. Anima
        6. Connection
        7. Spirit Voices
        8. Grateful (Best Shit)
        9. Born Again
        10. Drøm 

        Molly Burch

        Romantic Images

          Romantic Images, Molly Burch’s third album, marks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Tennis’ Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery.

          Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.

          When it came to mixing and mastering the material, Burch put her faith in Gloria Kaba (Lauryn Hill, A Tribe Called Quest), Mikaelin “Blue” Bluespruce (Solange Knowles), and Heba Kadry (Bjork, Beach House) to truly understand where she was coming from with the music.

          Burch designed the record to mirror the emotional journey that went into creating it, sequencing the music to work its way from jittery indecision to poised certainty over the course of ten mesmerizing tracks. Exhilarating opener “Control” takes a leap of faith as it learns to make peace with letting go, while the infectious “Heart Of Gold” grapples with wanting what you can’t have. By the time the silky “New Beginning” rolls around, Burch begins settling into a newfound sureness that dominates the collection’s second half, with the addictive “Emotion” (a collaboration between Burch and her Captured Tracks labelmate Wild Nothing) celebrating a spectrum of emotions as fuel for creativity.

          “I’ve written quite a bit about anxiety and heartbreak in the past,” Burch reflects, “but this record is more inspired by confidence and self-love. This is the most me I’ve ever sounded on an album.”

          STAFF COMMENTS

          Barry says: With a pretty legendary lineup of collaborators and producers working in conjunction with Burch, this was never going to be anything but superb. It's with a great deal of pleasure then, that I can confirm her singular writing style and unmistakeable vocal direction is at it's peak here. A brilliantly enjoyable and gorgeously evocative selection, drenched in nostalgic production and clever writing.

          TRACK LISTING

          1. Control
          2. Games
          3. Heart Of Gold
          4. Romantic Images
          5. New Beginning
          6. Took A Minute
          7. Emotion
          8. Honeymoon Phase
          9. Easy
          10. Back In Time

          Juan Wauters

          Real Life Situations

            Juan Wauters’ fifth solo album, Real Life Situations, is a multifaceted ode to sur- rendering control and taking life as it comes. References to radio abound on its 21 tracks, and with good reason - the album spans genres, narrators, languages, and perspectives with the ease of spinning a rotary knob. Mining older songs, phone notes, new material, and snippets from TV and YouTube, Wauters has crafted an aural document of the year through his eyes.

            Despite the circumstances of its creation, Real Life Situations is not a quarantine record. In many ways it’s the opposite of one, taking togetherness as both its subject and its primary medium. Pre-lockdown collaborations with Mac DeMar- co, Peter Sagar (AKA Homeshake), Nick Hakim, Cola Boyy, El David Aguilar, and more playfully offset Wauters’ more pensive solo tracks, and even in its sparest moments the album pulses with life. This is due in part to an impressive array of interludes and samples, most of which are field recordings that Wauters collects on his phone, ranging from the innocuous (“A Peter Pan Donuts Conversation”) to the intense (“Crack Dabbling”).

            Under his care, these small moments become coordinates for the peaks and valleys of human experience, coloring the album with Wauters’ unique shade of realism. “Some people think I’m an optimist”, he explains, “but I’m not. I’m always seeing all sides of things.”

            Of course, Wauters himself never disappears in the boisterous crowd - he lends his chameleonic songwriting to experiments in hip-hop (“Unity”), lo-fi R&B (“Mon- soon”), and deft indie folk (“Lion Dome”). Themes of loneliness, personal growth, patience, and companionship arise again and again; we can feel Wauters navi- gating a rapidly-changing world in real time. Jubilant choruses and spoken word poetry bleed into city noises and overheard conversations. Real freedom, the album suggests, comes not from gaining control, but from accepting its artifice. Like the programming on a radio station, there’s something here for everyone. All you have to do is listen. 

            TRACK LISTING

            1. A JPW Headspace 2020
            2. Monsoon (with Homeshake)
            3. Sentimiento Queens
            4. Locura
            5. Ventana
            6. Presentation (with Nick Hakim & Benamin)
            7. Unity (with Cola Boyy)
            8. Real (with Mac DeMarco)
            9. Keep Cool
            10. Carmina Pensá
            11. A Peter Pan Donuts Conversation
            12. Lion Dome (with Air Waves)
            13. JPW Talking
            14. Acordes (with Tall Juan)
            15. Bailando
            16. Estás Escuchando (with El David Aguilar)
            17. Crack Dabbling
            18. A JPW Theme Song
            19. Yendo
            20. Powder
            21. NY Weaz 

            Martin Newell

            The Off White Album

              A cheeky riff on the Beatles’ White Album, Cleaners From Venus frontman Martin Newell’s second solo album from 1995 is a sophisticated follow-up to the critically-acclaimed The Greatest Living Englishman. Produced by él Records fixture Louis Philippe and featuring XTC’s Dave Gregory on guitar, it’s a vivid snapshot of Newell’s life with a French chanson-inspired ease.

              A longtime fan of French music, Newell sought a Gallic quality on this record - with the vocal riding at the top of the mix, rather than blurred under indie rock guitars, as was common at the time. Philippe was happy to oblige. The effect is a clarity of both form and content - on “Arcadian Boys,” Newell’s impassioned voice careens over a heartbreaking string quartet (arranged by Philippe himself) as he wonders what’s become of those “too late for the sun.” It’s a much more emotional take on the song than the guitar-laden, uptempo version that appears on the Cleaners From Venus’ My Back Wages. But The Off White Album doesn’t dwell too long in solemnity - it’s still a Martin Newell record, after all. His classic wit is on full display, whether he’s putting an irreverent spin on the Smiths (“Some Girls Are Bigger Than Others”) or fondly warning a neighbor to “watch your chemicals, girl” (“The Girls In The Flat Upstairs”).

              A rich cast of characters make up The Off White Album, via both the process of its recording and the subjects of its songs. It’s a record born on the road, inspired by Newell’s experiences travelling through Europe and Asia the year of its inception. Perhaps the clearest portrait that emerges as the album draws to a close, however, is one of Newell himself: as poet, coffee shop customer, bandleader, lover and neighbor. By his own admission, The Off White Album is “a more intimate portrait of my life at that time than I’d intended.” 

              Linda Smith

              Till Another Time : 1988-1996

                When Linda Smith purchased a 4 track cassette recorder in the mid-1980s she was playing guitar in a band called the Woods, and thought it would be useful for sharing demos with her bandmates. In the end, the new hobby followed her from New York back to her native Baltimore, and over the next decade she’d release several albums worth of delicate, bewitching solo music on cassette. Till Another Time: 1988-1996 is the first retrospective collection of Smith’s charmingly lo-fi music.

                Sparse and gentle, Linda’s music is tinged with lovelorn melancholy despite the sweetness of her voice. Over ‘60s pop-indebted melo- dies on tracks like “A Crumb Of Your Affection”, she delivers ob- servations with an earnest softness. Elsewhere, her voice takes on a post punk deadpan, as on “I See Your Face.” The effect of both modes is a haunting charm, equally reminiscent of early Cherry Red Records and ‘60s yé-yé.

                With a no-nonsense approach to recording, Linda recorded almost all of her songs at home. There was a creative freedom that came with recording on tape, and unbeknownst to her, this was a conclu- sion that many musicians were reaching at the time.

                Unfortunately, the independence that made at-home recording ap- pealing to Linda also made it difficult for her to reach a wider au- dience. Relying on niche publications, cassette trading, and word of mouth to share music, Linda released a few 7”s on labels like Slumberland and Harriet but remained relatively local in terms of reach. Nevertheless, one can trace a direct line from Linda Smith to the ubiquity of bedroom recording today.

                TRACK LISTING

                1. I See Your Face
                2. In This
                3. A Crumb Of Your Affection
                4. All I Did
                5. Till Another Time (Alternate Lo-Fi Mix) 6. Gorgeous Weather
                7. I’ll Never See You Again
                8. I Just Had To
                9. Imaginary Conversation
                10. There’s A...
                11. Wandering You Know
                12. I So Liked The Spring (1996 Version)

                Molly Burch

                Emotion

                  Austin singer and songwriter Molly Burch returns this new year with a fresh sound on “Emotion’’, a disco-tinged, dynamic shot of adrenaline produced by Captured Tracks label-mate Wild Nothing (Jack Tatum).

                  In January 2020, Burch headed to Tatum’s hometown of Richmond, Virginia, looking to write new material with a distinct pop sound and production in mind. Sharing some of her latest demos and a playlist of her favorite pop bangers with Tatum, they set out to make a heart-pumping dance track of their own.

                  On “Emotion”, Burch’s voice is as strong and masterful as ever, pairing a lighter, polished vocal performance - a surprising, but captivatingdeparture from her signature smoky delivery - with Tatum’s compelling bass lines, beats, and shimmering synths. Burch says, “for me, the theme of the song is about feeling a spectrum of emotions, embracing that sensitivity, and using it as fuel to create something positive. “Emotion” is a celebration of being alive.”


                  TRACK LISTING

                  Side A: Emotion Feat. Wild Nothing
                  Side B: Needy

                  Mourn

                  Self Worth

                    Mourn knows quite a bit about setbacks, but a latent belief persists within: the negative will eventually become positive. It’s the belief in the wonder of resilience. It’s the name they chose for their new album: Self Worth. The band isn’t the same as when they formed. The world isn’t either. Mourn grew up, and that’s evident in the songs that make up Self Worth. Their melodies – energetic and captivating – venture into less level grounds, and their lyrics show a newfound readiness to tackle issues of a different weight and size. “Men” is lyrically patent proof of this growth, and their heightened consciousness as women.

                    A revealing song, necessary and deliberately uncomfortable. A beautiful melody of war against patriarchy; the impulsive rescue of the riot grrrl. Certain needs stand out through the album: leaving behind abusive ties, externalizing the interior noise. “We talked a lot about getting out of toxic situations – not resigning ourselves to that, not enduring that anymore. The songs are like flags to stand up and say: ‘we are done.’” Just as “Stay There” draws a limit and “Apathy” spits truth in your face, “Call You Back” seems to paint that instance in which love paralyzes, and “I’m In Trouble” turns exasperated voices into machine guns. Punk assault with a clear message: the body speaks when the mind is not well. Mourn is an enclave of post-teens dealing with the dilemmas of adult life. “This album gave us what we needed: self-worth, the desire to go forward, to love ourselves, with everything, with the good and bad. This album empowers us.”

                    TRACK LISTING

                    1. This Feeling Is Disgusting
                    2. Call You Back
                    3. I’m In Trouble
                    4. Men
                    5. Gather, Really
                    6. The Tree
                    7. Stay There
                    8. House Hold
                    9. It’s A Frog’s World
                    10. Worthy Mushroom
                    11. Apathy
                    12. The Family’s Broke

                    Wax Chattels

                    Clot

                      It is universally agreed that New Zealand’s Wax Chattels are a must- see live act; their hypnotically sinister debut captured this perfectly. Released in 2018 and supported by relentless touring, the eponymous album reached #7 on the New Zealand Album Charts, and release week saw the title feature as #1 in Rough Trade’s Top 20 New Releases. Tastemakers like NPR and A.V. Club came on as early champions. The album’s success at home and abroad led to the well-deserved nomina- tion of Best Alternative Artist at the 2018 New Zealand Music Awards, as well as the band’s inclusion in the coveted shortlist of finalists for the Taite Music Prize and Auckland Live Best Independent Debut Award. After a knock-out entrée, the anticipation that surrounds their sophomore album, Clot, is immense.

                      Much like their debut, the writing process for Clot took the best part of a year. While some songs were written on the road, the bulk of the album was workshopped throughout 2019 across bedrooms and storage containers. Demos were fine-tuned before recording engi- neer James Goldsmith (Aldous Harding, Mermaidens) stepped in. The band maintained the use of only the barest of ingredients — bass guitar, keyboard, and a two-piece drum kit — but spent more time ex- perimenting with and finding new sounds. They wanted to maintain the same live element, but, this time, heavier — for which they enlisted the help of mixing engineer, and fellow noise-maker, Ben Greenberg (Uniform, Destruction Unit, The Men). The keyboards are thicker, the bass more intense. A marked step-up, this new record keeps the visceral energy of the debut, only this time they dig deeper into ca- thartic noise.

                      At Clot’s center is confrontation. “Mindfulness” asks do you accept the status quo over forcing tangible change? The vitriolic choruses of “Cede” are in Cheng’s native language — Taiwanese Hokkien — and are an indignant confrontation about Cross-Strait relations and self- determination. The experience of being a first generation immigrant is expressed in the melodic single “No Ties”. The song touches on cul- tural differences and the parental sacrifice of careers and support sys- tems to provide a “better” future for their children. The explosive arc of “Efficiency” describes knowing when to bide your time, and when to push, in which the band treads a line between the explicit and in- tuitive. This is carried through “An Eye”, in which the band stresses the physical harm and psychological breakdown emanating from the escalating racial and political uproar throughout the world. Though the band seethes and boils throughout, Clot concludes with a message of hope. Perhaps it’s this capacity for self-awareness that makes Wax Chattels one of New Zealand’s most treasured independent exports.


                      TRACK LISTING

                      1. Glue
                      2. Efficiency
                      3. Cede
                      4. Mindfulness
                      5. No Ties
                      6. Less Is More
                      7. Spanners & Implements
                      8. An Eye
                      9. Forever Marred
                      10. Yokohama
                      11. You Were Right

                      Mouth Congress

                      Ahhh The Pollution

                        THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
                        LIMITED TO ONE PER PERSON.


                        Color vinyl.Never before released three track 7" from Mouth Congress, the musical comedy duo of Scott Thompson and Paul Bellini, best known for Kids in the Hall.Captured Tracks plans to release a 2LP Compilation of the band's music later in 2020.

                        Widowspeak

                        Plum

                          With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak’s sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth.

                          The band’s fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band’s canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie".

                          Plum navigates the spaces between the lesser emotions of modern life. Hamilton’s lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" – these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

                          STAFF COMMENTS

                          Barry says: Widowspeak mix the swooning, airy aspects of country with drifting melodic twists and a gorgeous, heady production aesthetic. A rewarding and heartening experience, exactly as you'd expect from such stellar talent, and a perfect fit for Captured Tracks.

                          TRACK LISTING

                          1. Plum
                          2. The Good Ones
                          3. Money
                          4. Breadwinner
                          5. Even True Love
                          6. Amy
                          7. Sure Thing
                          8. Jeanie
                          9. Y2K

                          Becca Mancari

                          The Greatest Part

                            Born on Staten Island to an Italian/Puerto Rican family with strict religious beliefs, Becca Mancari spent much of her childhood wrestling with issues of identity and belonging. When she set out on her own, Mancari followed the wind from Appalachia to Arizona, from south Florida to India, drifting in search of purpose and community. She eventually found both in East Nashville, where she garnered widespread acclaim for her strikingly honest songwriting and moving performances. Her debut Good Woman was a critical smash, praised by NPR and hailed as one of 2017’s best by Rolling Stone. Her songs racked up millions of streams, which helped land Mancari dates with the likes of Margo Price, Natalie Prass, and Julien Baker, among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and songwriter Jesse Lafser to form Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country.

                            Despite all her success, the relentless pace of life on the road left Mancari little time to grapple with the trauma of her past, nor absorb any new challenges arising in her present. So, in 2019, Mancari decamped to friend and producer Zac Farro’s home studio to set about constructing her sophomore album, a record that would balance unflinching self-examination with intoxicating grooves and infectious instrumental hooks. The two worked to capture the vast majority of the album themselves in Nashville before relocating to Los Angeles for finishing touches with GRAMMYwinning engineer/producer/mixer Carlos de la Garza (Paramore, Tegan and Sara).

                            The result is The Greatest Part. Propelled by an airtight drum groove and lacerating guitar line, hypnotic opener “Hunter” finds Mancari singing to a ghost from her past, promising, “You’re never gonna track me down / You’re never gonna find me out,” her crystalline voice floating effortlessly above the distorted maelstrom brewing below it. Like much of the album, it’s a song of defiance and self-assurance that’s streaked with loneliness and regret. To that end, earworm “Lonely Boy” reflects on the ways that fear can hold us back from human connection, while the bittersweet “First Time” reaches out to a younger self, asking “Hey, did you find your way out?”

                            Yet, as much as The Greatest Part is a vehicle for examining Mancari’s past, it’s also a lens through which she makes sense of her future. Perhaps it’s bare-bones album closer “Forgiveness” that best ties together all of the record’s loose threads. Searching for mercy in the midst of lingering anger and grief, the hushed, intimate track locates the beauty in letting go, in accepting ourselves for all our flaws and baggage, in walking forward boldly into the unknown.

                            TRACK LISTING

                            1. Hunter
                            2. First Time
                            3. Like This
                            4. Bad Feeling
                            5. Pretend
                            6. Lonely Boy
                            7. Tear Us Apart
                            8. I’m Sorry
                            9. Stay With Me
                            10. Knew 

                            OXZ

                            Along Ago: 1981-1989

                              The mid ‘80s were an exciting time for music in Kansai (OsakaKyoto), Japan. There were more stages for bands to play on, more releases by independent labels and a variety of bands playing in different styles. The 80s were also a time when women’s rights in Japan, though a topic of conversation, were not widely visible in the real world. There were very few women in the underground music scene at the time, but none of them dressed like punks or dyed their hair, or outwardly showed much interest in declaring independence from the usual rules. So, in 1981, when Hikko, Mika, and Emiko (aka Chasenmaru) first appeared together as OXZ, they were intentionally shocking.

                              Nothing happens in a vacuum, however. It was already acceptable for young women to form bands in the safety of their high school music clubs. They generally played cover songs at school events. However, actually stepping out into the dirty world of live houses was for the adventurous and compelled. To do so in OXZ’s overtly provocative, dramatic way was unheard of. Contemporaries of Shonen Knife, OXZ were known for the intensity of their live performances. Releasing their first EP in 1984 – an 8” EP – their catalog belies their reputation for moody, dark post-punk ahead of its time. The bass and drums dominate; the guitars are angular and spiky – punk, but with something extra. Along Ago: 1981-1989 collects the band’s entire catalog – three EPs and a single – alongside unearthed, unreleased demos.

                              Then, 1989, it ended as the band went their separate ways. And the name? No one seems to remember how it came about, but it should be noted that in Japan, O means acceptable and X means rejected, so maybe OXZ means “going beyond all usual standards.”

                              “One of the pioneering Japanese female underground bands... unique, strange and provocative.” - Makoto Kawabata (Acid Mother’s Temple)



                              TRACK LISTING

                              1. Fall In The Night
                              2. Along Ago
                              3. Life And Death
                              4. Touching My Heart
                              5. Vivian
                              6. Be Run Down
                              7. Etranger (1985)
                              8. Boy Boy
                              9. Etranger (1988)
                              10. Is Life
                              11. Teenage B
                              12. (我等は何して) 老ひぬらん
                              13. Blue Sing *
                              14. Bleed Love *
                              15. Down Easy *
                              16. Angel
                              17. Orgel Bony *
                              18. Truth *
                              19. Baby Again *

                              *Tracks Available On CD And LP Download.

                              Locate S, 1

                              Personalia

                                Working under various aliases since 2014 — including CE Schneider Topical, Jepeto Solutions, Christina Schneider’s Genius Grant and now Locate S,1 — Christina Schneider has explored everything from groovy garage rock to minimalist bedroom pop to Syd Barrett-style psychedelia. Buoyed by her desire to create the same “crazy, powerful feeling” she gets when she hears an ABBA or Kate Bush song, she reached again for the outer limits of pop music and recorded Personalia , her sophomore album as Locate S,1 and debut release on Captured Tracks.

                                Schneider spends much of the album trying to understand and expel a darkness that has come over her (and society at large) in order to live a more fulfilling life. While writing and recording the album in her home studio in Athens, GA, Schneider thought a lot about her own growth and self-worth as an artist, and where her constantly evolving and always experimental music fits in the digital age.  Environmentalism, money, power, and modern feminism formed part of that conversation, too. Throughout Personalia Schneider seeks to address how the attention economy is plaguing us with feelings of FOMO and anxiety, and is causing many of us to abandon their progressive values.

                                At its core, Personalia is about rebuilding, not rebranding. It’s about evolving and moving forward despite knowing the world is falling apart around you. On the peppy, dance hit “Whisper 2000” Schneider fully embraces this idea: “If you cannot behold my miracle, step away from the vehicle,” she sings with a defiant spring in step.


                                TRACK LISTING

                                1. Sanctimitus Detrimitus
                                2. Whisper 2000
                                3. Personalia
                                4. After The Final Rose
                                5. Classical Toys
                                6. Even The Good Boys Are Bad
                                7. Community Porn
                                8. Hot Wife
                                9. Hello
                                10. Futureless Hives Of Bel Air

                                Wild Nothing

                                Laughing Gas

                                  On Laughing Gas, the third EP from Wild Nothing, songwriter and multi-instrumentalist Jack Tatum delves deeper into the territory where he thrives: namely, the synth and sophisti-pop of the 1980s. Working within a more mechanical and synthetic framework than his previous releases, Wild Nothing continues to delicately toe the line between the organic and the unnatural. These are still pop songs, but there’s an underlying sense of uneasiness that threads the music together.

                                  Recorded in Los Angeles, CA and Richmond, VA with the help of Jorge Elbrecht, these five songs were originally imagined alongside last year’s Indigo and were written and tracked simultaneously with the album. When work on the full-length was nearing completion, Tatum set these ideas aside; they seemed to fit better on their own. In spare moments between tours, Tatum began to look back and piece the songs together at his home studio in Richmond, reconnecting with Elbrecht to mix the EP. With Elbrecht in Denver and Tatum in Richmond, the two went back and forth on the final touches, molding a common thread from the Lô Borges inspired new wave of “Sleight Of Hand” to the propulsive, icy synth funk of “Foyer”.

                                  Often considered a secondary or transitional format, Wild Nothing has always used the EP to further explore new ideas and influences. Laughing Gas is no exception.


                                  STAFF COMMENTS

                                  Andy says: More massive, dreamy 80's influenced pop from the master.

                                  TRACK LISTING

                                  1. Sleight Of Hand
                                  2. Dizziness
                                  3. Foyer
                                  4. Blue Wings
                                  5. The World Is A Hungry Place

                                  Molly Burch

                                  The Molly Burch Christmas Album

                                    On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like “I’ll Be Home for Christmas” and “Auld Lang Syne” alongside heartland hits like “Hard Candy Christmas” and “Snowqueen of Texas”.

                                    “This is the most fun I’ve had making a record yet,” Burch says. And you can hear that joy on tracks like ABBA’s “Happy New Year” as well as a playful cover of Wham’s “Last Christmas” with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout.

                                    Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. “I hope it’s a Christmas album for people who love Christmas music and people who don’t love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights.”


                                    STAFF COMMENTS

                                    Barry says: It's November.

                                    TRACK LISTING

                                    1. The Secret Of Christmas
                                    2. Hard Candy Christmas
                                    3. Snowqueen Of Texas
                                    4. Holiday Dreaming
                                    5. Last Christmas Ft. John Early & Kate Berlant
                                    6. I’ll Be Home For Christmas
                                    7. The Coldest Night Of The Year Ft. Jesse Woods
                                    8. What Do The Lonely Do At Christmas?
                                    9. New Year Love
                                    10. Have Yourself A Merry Little Christmas
                                    11. Happy New Year
                                    12. Auld Lang Syne

                                    Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV –– Zachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [vocals, bass], and Ben Newman [drums] —— personally inhabit the recesses of their third fulllength album, Deceiver. A whirlwind brought DIIV here. On the heels of 2012’s Oshin, the group delivered the critical and fan favorite Is the Is Are in 2016. Praise came from The Guardian, Spin, Rolling Stone and more. Pitchfork’s audience voted Is the Is Are one of the Top 50 Albums of 2016, as the outlet dubbed it “gorgeous.” Simultaneously, frontman Zachary Cole Smith faced down seemingly dormant demons, and the momentum stalled.

                                    Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road. During a 2018 tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. By the time DIIV entered 64 Sound to record with producer Sonny Diperri, the band felt a certain confidence.

                                    It’s evident on first single “Skin Game,” which gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. “Being a recovering addict myself,” he says, “there are a lot of questions like, ‘Who are we? What is this disease?’ ‘Skin Game’ looks at where the pain comes from – the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.”

                                    A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic “Taker.” For Smith, it’s “about taking responsibility for your lies, their consequences, and the entire experience.” Meanwhile, the ominous bass line and crawling beat of “Blankenship” devolve into schizophrenic string bends with the vitriolic lyrics. The seven-minute “Acheron” offers a dynamic denouement, flowing through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis.

                                    “We’re proud of this, because we earned it as a band,” Cole says. “I’m really happy and grateful just to do it in the first place. I can see the change. It’s not a record full of solutions, but I’m living my life. I’ve examined the consequences of my lies; I’ve got something to say now.”

                                    STAFF COMMENTS

                                    Barry says: 'Deceiver' is by far the most cohesive and thematically consistent DIIV release yet in a succinct, yet superb catalogue. Swathes of distortion and echoing guitars are expertly laid down before Cole Smith's hypnotic vocals make their mark, coalescing into a lysergic, shoegazing maelstrom.

                                    TRACK LISTING

                                    1. Horsehead
                                    2. Like Before You Were Born
                                    3. Skin Game
                                    4. Honey
                                    5. Taker
                                    6. For The Guilty
                                    7. Lorelai
                                    8. The Spark
                                    9. Blankenship
                                    10. Acheron

                                    Chastity

                                    Home Made Satan

                                      Brandon Williams’ second full-length record as Chastity, Home Made Satan , is a new direction for the Whitby, Ontario-native. It’s an emotional and political concept album from the perspective of a young man who’s spent too much time alone, inside, isolated from the world. It’s about fear, and radicalization; an intense meditation on youth and extremism in an increasingly irrational and violent Western World.

                                      Williams, who produces all his own music, set out to create something with a strong cinematic nature. “It’s so visual to me,” he says. “I’m scoring this picture I have, and trying to get it as close to people’s ears as it is in my mind.”

                                      The new songs are gothier and poppier than ever, recalling ‘80s staples like The Cure and Siouxsie and the Banshees. Home Made Satan’s got “a bit more eyeshadow” than 2018’s genre-bending shoegaze-meets-post-hardcore Death Lust , and it’s got pop-punk hooks for days. Home Made Satan , with its lines about commies and American masochism and the Christian right, is meant to sing along to.

                                      And when you do, you’ll mostly be singing about America. About hyper alienation and xenophobia, about the people who don’t have access to community, how people get stuck in their own worlds and become afraid of what’s outside.

                                      “It constantly feels like America is falling apart,” Williams says, and that affects the whole world.

                                      TRACK LISTING

                                      1. Flames
                                      2. Dead Relatives
                                      3. Spirit Meet Up
                                      4. Sun Poisoning
                                      5. Anxiety
                                      6. Last Year’s Lust
                                      7. Bliss
                                      8. The Girls I Know Don’t Think So
                                      9. Still Feel The Same
                                      10. Strif

                                      Lina Tullgren

                                      Free Cell

                                        Mainly recorded and produced at Brooklyn’s Figure 8 Studios, with Ty Ueda later assisting on final tracking at his Mount Misery studio, Lina Tullgren’s Free Cell is masterfully confident. Some rock elements like nonlinear song structures and syncopated rhythms bleed over from the debut album Won era on tracks like “110717,” but the album offers a wider musical palette than its predecessor, with lush arrangements utilizing strings, brass and sculpted synths throughout.

                                        “Golden Babyland” abounds in tension and claustrophobia, finding Tullgren alone and “in the kitchen melting Legos,” while the elegant and introspective ballad “Bad at Parties” scores a moment of quiet social paralysis. The strings (arranged by Simon Hanes) that carry through Free Cell echo back to Tullgren’s education as a classical violinist, and Lina moves deftly between these various soundscapes, resulting in their most dynamic music to date.

                                        Throughout Free Cell , Tullgren looks back on their memories from the position of an analyst, often cool and cynical but always with an undercurrent of humor and deep feeling. In their poetry Lina Tullgren writes anthems for the alienated, for those alone on busses, at parties, at their parents’ house, for those who cannot help but feel lonely even if they are surrounded by others. Free Cell invites us to sit and listen, to reflect, but with no guarantee of any of those things being easy.

                                        TRACK LISTING

                                        1. Free Cell
                                        2. 110717
                                        3. Golden Babyland
                                        4. Bad At Parties
                                        5. Saiddone
                                        6. Soft Glove 1
                                        7. Glowing X 10000
                                        8. Wow, Lucky
                                        9. Soft Again
                                        10. Nervous Yet
                                        11. Soft Glove 2
                                        12. Piano

                                        Juan Wauters

                                        Introducing Juan Pablo

                                          La Onda de Juan Pablo was a travelogue of sorts, with its anthropological efforts, its parade of Latin American musicians and its choice to only feature Wauters native tongue. Introducing Juan Pablo, on the other hand, goes back and forth between Spanish and English. It is, in short, more faithful to the interculturalism that Wauters experiences daily. "In my house, among my family, we speak in Spanish. But outside in the neighborhood, we speak in English with my friends. Several of them speak in Spanish with their parents, but not all. It doesn't cause me any trouble to go from one language to another. I can express myself in the same way: everything is music." In a nod to both his home country and his adopted home, he includes an English version of "El Hombre de la Calle" ("The Man on the Street") by Jaime Roos, one of the most popular Uruguayan songwriters. The references to the land where he was born are her on the surface. Between the first track ("Super Talking") and the last ("Greetings"), songs run in both languages, culminating with "Lora", which opens like a pop kaleidoscope and ends in a kind of cosmic brotherhood between Eduardo Mateo and Syd Barrett.

                                          His immigrant's side. His sense of belonging. His social life and his use of language. His need to work. And the even stronger need that his work doesn't become monotonous. His dream of another possible world: a world where all worlds fit. Juan Wauters went through all this to introduce us to Juan Pablo. They are the same person: one among the whole crowd.


                                          TRACK LISTING

                                          1. Super Talking
                                          2. Doing Alright
                                          3. Rubia
                                          4. Letter
                                          5. Bolero (Maurice Ravel)
                                          6. Mystery
                                          7. Lonely
                                          8. Mountain
                                          9. Jaime Tortuga
                                          10. El Hombre De La Calle
                                          11. Dos
                                          12. What You Gonna Do
                                          13. Letter (feat. Maxine)
                                          14. Crazy Funny (feat. Maxine)
                                          15. Lora
                                          16. Straighten Up And Lose
                                          17. Saludos

                                          Reptaliens

                                          Valis

                                            When Bambi and Cole Browning started writing the songs that would be become Reptaliens’ 2017 debut LP, FM-2030, they had no intention of starting a band. Focusing at first on creating music and art on a purely personal level, the project soon took off when the duo brought on Julian Kowalski (guitar) and Tyler Verigin (drums) to form a live band. The fourpiece swiftly delved into songwriting inspired by sci-fi art and literature, cult mentalities, and deep connections. The result is the band’s self-defined genre of “dreamwave,” which connected musical influences ranging from Gary Wilson-inspired jazzy lounge music, the warmth of Broadcast’s recording production, to Todd Rundgren’s outer space synth sounds.

                                            After touring throughout most of 2017 and 2018 with STRFKR, Cults, and Of Montreal, the band returned home and went straight into renowned Portland studio Jackpot to record their sophomore LP, VALIS. Titled after the 1981 Philip K. Dick novel, Valis is a cohesive collection of songs unified in sound and structure and supported by recurring lyrical themes, consistent with Reptaliens’ sound: 80’s analog synthesizers, tape delay echos, and a dreamy blend of guitar lines which ebb and flow throughout Bambi’s melodies. Tracks like “Shuggie 2” and “Sunrise, Sunset” are phantasmagoric, breezy and minimal, resulting in an intimate and personal atmosphere in which the listener can ruminate. Yet, the dynamism of Valis comes from a balance between the band’s more introspective tracks with kinetic synth pop songs such as “Echo Park” and “Give Me Your Love” and and the upbeat guitar driven tracks “Venetian Blinds” and “Baby Come Home”.

                                            With FM-2030, Reptaliens divulged tales from an etic: outsiders perspective of cult kidnappings, alien abductions, and sci-fi speculations towards potential future realities. In Valis, the lense is turned inwards and, through the looking glass, the 12 tracks provides an emic glimpse towards the feelings and situations of the subjective experience.


                                            TRACK LISTING

                                            1. Sunrise, Sunset
                                            2. Venetian Blinds
                                            3. Shuggie 1
                                            4. Shuggie 2
                                            5. Baby Come Home
                                            6. Changing
                                            7. Echo Park
                                            8. Give Me Your Love
                                            9. Song For Moon
                                            10. Wake Up
                                            11. Sweet, Innocent You
                                            12. Heather

                                            Mourn And Chastity

                                            Sun

                                              2018 marked a big year for both Chastity, who released his debut LP Death Lust to wide acclaim, and Mourn, who emerged victorious from a brief hiatus with their 3rd LP Sorpresa Familia. Following a summer tour together, MOURN and Chastity come together again to release a limited edition split 7”. Featuring live session cuts from each band and an alternate version of MOURN’s “Sun” (off 2018’s Sorpresa Familia ) recorded with Chastity, this limited edition release highlights two of the most exciting young acts coming out of Captured Tracks.


                                              TRACK LISTING

                                              01. Sun - MOURN Feat. Chastity
                                              02. Skeleton (BTR Live Studio) - MOURN
                                              03. You Are My Sunshine (Strombo Sessions) - Chastity

                                              HXXS

                                              MKDRONE

                                                When recording their EP ‘MKDRONE,’ duo Jeannie Colleene and Gavin Neves – a/k/a HXXS – were cramped in a San Jose warehouse, sharing a wall with a porn studio. Despite their vocal takes periodically interrupted by even louder and harsher vocal takes echoing in the halls, MKDRONE came together. When prescription medication became the only reprieve for an inoperable tooth infection that had one member sliding between unbearable pain and prescription-induced euphoria, the first single “Seppuku,” the historical Japanese term for suicide by disembowelment, came to fruition. But similar to life with no health insurance and recording music wedged in the walls of a porn studio, HXXS live somewhere between the uncomfortable and the alluring.

                                                Their live show, which consists of any hardware they can get their hands on – drum machines, synthesizers, samplers – is built on loops, making the songs feverish and at times deliberately frenzied to a point of anxiety. However the duo anesthetize this angst with more subdued nods to electronic and post-punk acts of the 80’s, 90’s, 00’s and Present. While their music is undeniably erotic – a tip of the hat to their vocal San Jose neighbours – the EP is what happens when your intrigue with pop culture media and conspiracy theories from the 60’s to present turns obsession. Contemplating the bombardment of modern media and those ill served by it. Women, the LGBTQ+ community, people of colour, victims of white supremacy and the patriarchy.


                                                TRACK LISTING

                                                1. Seppuku
                                                2. Witch Hunt
                                                3. Vices
                                                4. Dripping Mercury
                                                5. Trippin
                                                6. Widowmaker

                                                Capital Punishment

                                                This Is Capital Punishment

                                                  Hot on the heels of Captured Tracks’ reissue of Capital Punishment’s 1982 album Roadkill, the quartet of Kriss Roebling, Ben Stiller, Peter Zusi, and Peter Swann return with This Is Captial Punishment an EP of new material recorded almost 35 years after the group disbanded. When asked for bonus material for the Roadkill reissue, the original members got back together and did a remake of their track “Confusion.” A blistering, motorik take on the original, the new version reimagines “Confusion” as a much louder and sinister track. It was so loved by the label - and the band had so much fun recording it – that they decided to record new material.

                                                  With the “Confusion” remake leading off the EP, Capital Punishment burn through four other tracks that all explore the darker edges of rock ‘n’ roll. From the strangely sultry “Drumming Out Time Inside Me” and “Grey And Illuminate” to the band’s favorite “Hot Love,” Capital Punishment may not be teenage punks anymore, but they certainly haven’t lost their edge.

                                                  TRACK LISTING

                                                  1. Confusion (2018)
                                                  2. Drumming Out Time Inside Me
                                                  3. Hot Love
                                                  4. Grey And Illuminate
                                                  5. Shannon Rose

                                                  Various Artists

                                                  Captured Tracks CT10

                                                    To celebrate 10 years of Captured Tracks, the label have created two budget-priced vinyl samplers that showcase now-classics from a roster of vibrant and varied artists. Plus, they've thrown an exclusive or two in to sweeten the deal. Ya’ll remember that supergroup called Shitfather? 

                                                    TRACK LISTING

                                                    VOLUME 1:
                                                    Side A
                                                    01. Minks – Kusmi
                                                    02. Craft Spells – Ramona
                                                    03. COSMETICS – Sleepwalking
                                                    04. DIIV - Big Joke
                                                    05. Widowspeak - In The Pines
                                                    06. Mac DeMarco - Still Beating (Live)*
                                                    07. Juan Wauters - Woke Up Feeling...

                                                    Side B
                                                    01. Chris Cohen - Caller No. 99
                                                    02. Beach Fossils – Distance
                                                    03. Wild Nothing - Paradise (Feat. Michelle Williams) *
                                                    04. Blouse - They Always Fly Away05. The Soft Moon - Origin *
                                                    06. The Jameses – Caribou
                                                    07. Shitfather - Only A Shadow (Cleaners From Venus Cover, Live At CT5) *

                                                    VOLUME 2:
                                                    Side A
                                                    01. Molly Burch - Try
                                                    02. EZTV - Trampoline
                                                    03. Nic Hessler - (Please) Don’t Break Me
                                                    04. Reptaliens -29 Palms
                                                    05. Dinner - Un-American Woman
                                                    06. Holgrams - ABC City

                                                    Side B
                                                    01. Perfect Pussy - Driver
                                                    02. Naomi Punk - Burned Boy
                                                    03. B Boys - Energy
                                                    04. Wetdog - Lower Leg
                                                    05. MOURN - Otitus
                                                    06. Lina Tullgren - Asktell
                                                    07. Shitfather - Tin Birds
                                                    (Blank Dogs Cover, Live At CT5)*

                                                    * Exclusive Tracks

                                                    ** Shitfather Is Mac DeMarco, Matt Kallman (Real Estate, Dustin Payseur (Beach Fossils), Zachary Cole Smith (DIIV) And Jack Tatum (Wild Nothing).

                                                    Capital Punishment

                                                    Roadkill

                                                      If I were to tell you that a band of NYC teenagers who met in 1979 decided to form a band influenced by Cabaret Voltaire, Throbbing Gristle, Eno, Chrome and released a privately pressed record, it would be enough to pique your interest. When you find out the band consisted of a future Supreme Court Justice for Arizona, a Professor of Slavic Studies, a Musician/Documentarian whose family built the Brooklyn Bridge, and an A-list world-famous actor the story goes from being about another rare, privately pressed recording that’s been re-discovered, into something that’s pretty incredible.

                                                      Captured Tracks is thrilled to announce the reissue of Capital Punishment’s 1982 sole LP Roadkill. For a band of high school weirdos who actually got their shit together enough to make a completely uncommercial album with no means to sell it shows a lot of determination, persistence and perhaps insanity. But it’s always those kinds of weirdos who go on to do great things – just ask Judge Peter Swann, Professor Peter Zusi, Kriss Roebling and Ben Stiller

                                                      TRACK LISTING

                                                      01. Necronomicon
                                                      02. Roadkill
                                                      03. Confusion
                                                      04. Muzak Anonymous
                                                      05. All Just In Passing
                                                      06. Delta Time
                                                      07. Creatures Of The Dark (Night)
                                                      08. Cosmos
                                                      09. John’s Forgotten Land (Parts 1, 2, & 3)
                                                      10. Necronomicon (Reprise)
                                                      11. Waiting To See You
                                                      12. Helen 

                                                      Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic—but perhaps never as distinctly as on Indigo, the fourth Wild Nothing album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini , and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause . Indigo finds Tatum at his most efficient, calculated, and confident—resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses.

                                                      To make Indigo , Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the album was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Tatum built out the rest of the album’s sound by adding new parts and repurposing sounds from Tatum’s demos. The resulting Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.


                                                      STAFF COMMENTS

                                                      Andy says: From glowing jangly guitars and Tatum's soaring vox, Wild Nothing present a more cohesive and slick outing than 2016's shop favourite, 'Life Of Pause'. A superb progression in dynamics whilst still retaining the superb melodicism that made them so appealing in the first place. Ace.

                                                      TRACK LISTING

                                                      1. Letting Go
                                                      2. Oscillation
                                                      3. Partners In Motion
                                                      4. Wheel Of Misfortune
                                                      5. Shallow Water
                                                      6. Through Windows
                                                      7. The Closest Thing To Living
                                                      8. Dollhouse
                                                      9. Canyon On Fire
                                                      10. Flawed Translation
                                                      11. Bend

                                                      Gabriella Cohen

                                                      Pink Is The Colour Of Unconditional Love

                                                        Australia’s sweetheart, Gabriella Cohen struck gold with the release of her internationally acclaimed debut, Full Closure and No Details in 2016. After extensively touring the album worldwide and sharing the stage with musical heavyweights like The Flaming Lips, Marlon Williams and Rodrigo Amarante, fans and industry alike embraced the dreamy, fuzz-soaked popscapes created by Cohen. The Guardian praised: “Seductive, broody and occasionally sinister,” and it drew four-star reviews from MOJO, UNCUT and Q Magazine.

                                                        In the summer of 2017, Cohen moved to a farm in countryside Victoria, Australia, to record and self-produce her second album with engineer and partner-in-crime, Kate ‘Babyshakes’ Dillon. There, amidst flocks of screeching white cockatoos and herds of Black Angus cows, they etched the beginning of Pink Is The Colour Of Unconditional Love. The record was almost complete when the band was invited to join Foxygen’s U.S tour, compelling the girls to finish the album on the road. Armed with a microphone and an interface, Dillon and Cohen captured the final touches on a boat in England, the coast of Portugal; in the mountains of Southern Italy, cafes of Mexico, and finally in Venice Beach, Los Angeles.

                                                        Pink Is The Colour is an expansive and exciting body of work, showcasing Cohen’s unusually refreshing twists on pop arrangements. ‘Baby’ was born in the graveyard of unrequited love, while ‘Music Machine’ became a swagger of sultry defiance set in LA. Throughout the new album Cohen creates complex and sugary backing vocals. These signature vocal arrangements—contoured with classic harmonies and nostalgic melodies—form songs remarkable in their originality. Honest heartache is woven into glory throughout the record, and during eleven tracks a candid, almost ethereal self-portrait of its songwriter emerges. For Gabriella Cohen, it’s an epitaph of electric wonder, and a definitive fact: Pink is the Colour of Unconditional Love.

                                                        “A modern psychedelic prophet who layers drawling vocals, heartache, and healing over a background of Velvet Underground-esque guitar distortion.” - Rookie Mag

                                                        TRACK LISTING

                                                        1. Music Machine
                                                        2. Baby
                                                        3. I Feel So Lonely
                                                        4. Miserable Baby
                                                        5. Mercy
                                                        6. Change
                                                        7. Neil Young Goes Crazy
                                                        8. Recognise My Fate
                                                        9. Morning Light
                                                        10. Hi Fidelity
                                                        11. Sky Rico

                                                        Wax Chattels

                                                        Wax Chattels

                                                          Guitarless Guitar Music. This is the self-imposed one-line description chosen by Auckland, New Zealand’s Wax Chattels. The keyboard, bass and drums trio don’t have a guitar player, but their overwhelming sound and energy create an atmosphere akin to a traditional power trio though their music is anything but traditional. They create darkly hypnotic and frenetic music that’s rhythmically complex and sinister; there’s heavily treated keyboards, unrestrained basslines and punishingly simple drums. And, it’s loud.

                                                          Peter (keyboards/vocals), Amanda (bass/vocals) and Tom (drums) met while studying Jazz Performance at the University of Auckland. After living abroad, completing Law School and/or performing in a myriad of other music-related projects, they started Wax Chattels, working up their material for a year prior to recording. “We tracked the songs as a live band to capture the energy of the live show, restricting ourselves to instruments which we play live and keeping all production to a minimum to focus on the band’s sound itself.”

                                                          Live, they are not to be missed. While they do come across as a “rock” band, it’s coming from so many places so quickly that you’re kind of left wondering where you’re going. The opening of the one-chord tour de force “Concrete” begins in a downright frightening and jarring place and ends up in a Krautrock-via-Suicide crescendo. It was after a particularly insane live performance that they were signed by both Captured Tracks and Flying Nun Records on the spot.

                                                          Wax Chattels recall the other side of Kiwi underground rock history that’s a bit less sunny and a bit less jangly. The small, yet constantly groundbreaking nation has put forth a new act and album that demands your attention.

                                                          TRACK LISTING

                                                          1. Concrete
                                                          2. Stay Disappointed
                                                          3. It
                                                          4. Gillian
                                                          5. In My Mouth
                                                          6. Shrinkage
                                                          7. Career
                                                          8. NRG
                                                          9. Parallel Lines
                                                          10. Facebook

                                                          Gift Wrap

                                                          Losing Count

                                                            For some time now, Brendon Avalos has been forging a path for himself among the clamor of emerging indie artists as the bassist and vocalist of Brooklyn punk trio B Boys. Now, he is releasing his first solo effort - a full length album entitled Losing Count - under the moniker Gift Wrap.

                                                            Losing Count is the culmination of a personal goal Avalos set two years ago: to see through the completion of a collection of music all his own. “Artistically, I think the sole purpose of this record was to just do everything. An exercise in realizing a full concept without seeing what the end result would be.” As it turns out, that end result is a 13-track experimental pop album that packs a large punch with influences ranging from early new wave acts like Depeche Mode and OMD to Frank Ocean.

                                                            With each track draped in whimsically looping layers and interspersed with the pervasion of old radio samples, buzzing, and hums to create a tate of constant white noise, Avalos successfully conveys a state of latent anxiety through danceable, weirdo pop. In this way, Losing Count becomes an exercise in synthesizing the collective experience of today’s political and cultural climates into a fully individualized expression.

                                                            TRACK LISTING

                                                            01. Present
                                                            02. Losing Count
                                                            03. Current Expulsion
                                                            04. Change My Mind
                                                            05. Either Way
                                                            06. Mirage
                                                            07. Past
                                                            08. Comatose
                                                            09. Half Of Nothing
                                                            10. The Situation
                                                            11. I Cry
                                                            12. A Moment Of Reflection
                                                            13. Future

                                                            Robert Earl Thomas

                                                            Another Age

                                                              It’s a debut that plays the part without succumbing to it, more pastel romantic comedy than sepia historic drama. There are stylistic nods to Springsteen and Dire Straits, Arthur Russell’s more folk-leaning output, the various collaborations of Tom Petty & Jeff Lynne. But Thomas seems intent on conveying his specific take on these things over emulating them; you get the impression that he’s just as inspired by karaoke renditions of “I’m On Fire” or “Romeo and Juliet” as he is by the originals. And the stories he tells are full of intimate moments and observations: a walk home from a lover’s apartment, a long night drive back upstate, a quiet Wednesday morning existential crisis; musings as to the significance of a Winona Ryder portrait on the wall of a stranger’s bedroom; the sense of discovery that comes with being young in a city with a new person, and the sense of loss when that novelty is gone. Another Age is indoor music at its most expansive, rock and roll held at arm’s length

                                                              TRACK LISTING

                                                              01. Another Age
                                                              02. I Remember
                                                              03. Cryin’
                                                              04. The Weather
                                                              05. Wednesday Morning
                                                              06. Winona Forever
                                                              07. My Fault
                                                              08. What Am I Gonna Do
                                                              09. Word Of Mouth

                                                              Reptaliens

                                                              FM-2030

                                                                Debut album from Reptaliens featuring members of Blouse, Wampire, Brainstorm and Woolen Men.

                                                                Portland, Oregon’s Reptaliens is the husband and wife team of Cole and Bambi Browning. The couple met on a basketball court while filming a music video for a mutual friend’s band that didn’t exist. The two knew almost instantly they were soulmates; after dating for six months they married under a blanket of smoke from the season’s forest fires.

                                                                Named in reverence for their interests in cult mentality transhumanism, and conspiracy theories, Reptaliens quickly evolved from a bedroom recording project to a full-fledged band that explores fringe pop culture through analogue synthesizers, electric guitars, melodic basslines and Bambi’s lulling vocals. The pair’s songwriting mirrors their strong connection. As Cole says, “Bambi and I write all the music. Sometimes we work together to construct songs and sometimes I’ll come home from work and she’ll have a masterpiece finished and perfectly crafted. We both add to each other’s songs and none really seem completely Bambi’s or mine. We do everything together.”

                                                                Inspired by all things science fiction, writers like Philip K. Dick and Haruki Murakami and music ranging from Paul McCartney / Wings to African artists Francis Bebey and Nahawa Doumbia, the band creates psychedelic, chameleonic dreamscapes that fall sonically and visually somewhere between abstract expressionism and surrealism. These ideas and influences all coalesce on ‘FM-2030’ - named after the renowned transhumanist writer and philosopher - the band’s debut album on Captured Tracks.

                                                                Thematically based around obsession, Bambi says she “gravitates toward other people’s obsessions and draws inspiration from them. I like to think of method acting and personify myself as the obsessor, writing from their perspective. I love pretending and creating around these personalities.” This play-acting on record translates to the band’s sincere and theatrical live performances that involve homemade costumes and on-stage guest appearances from a giant reptile man.

                                                                ‘FM-2030’ was recorded at famed Portland studio The Green House with Riley Geare. As longtime active participants in the Portland music scene, Bambi and Cole called on a number of talented musicians for Reptaliens’ recordings and live performances, including Julian Kowalski (guitar), Bryson Hansen (synth) and Tyler Vergian (drums). However, Cole is quick to note, “Reptaliens is a concept more so than a band or any group of individuals. Those who are willing to let go and open themselves up to new experiences will be rewarded and emboldened. Those who want to turn away will have no choice but to look. The truth is out there.”

                                                                TRACK LISTING

                                                                29 Palms
                                                                If You Want
                                                                Simulation
                                                                666Bus
                                                                These Days
                                                                Satan’s Song
                                                                Nunya
                                                                Butter Slime
                                                                Forced Entry
                                                                Dreaming
                                                                Ubik

                                                                Lina Tullgren

                                                                Won

                                                                  Lina Tullgren is from Southern Maine just over the border of the northernmost seacoast of New Hampshire. It’s an unexpected location for artistic incubation but osmosis is bound to occur when you grow up surrounded by family, friends and weirdos interacting at all times with their own interpretations of creative output. Shifting in trainings and traditions, the 23 year old eventually found herself a voice with the electric guitar, uniquely flavoured and shaped from the many years of fiddle lessons and classical technique. The shifts in genre and instrumentation are stark but important for her growth as a songwriter. Lina’s morphing interaction with music has mirrored a growing determination to harness her ability to melodically and lyrically express complex emotions - a rare gift at such a young age.

                                                                  With 2016’s ‘Wishlist’ EP - recorded to tape at the home of band mate Ty Ueda - Lina proved an ability to craft simple, introspective and succinct songs, each one a pulsing glow leaving you both hollow and whole, alone but never lonely. It is on Lina’s debut album ‘Won’ that we reap the full rewards of this newfound confidence in expression and rejection of internal hesitation. “The writing doesn’t necessarily get easier, but I feel more comfortable tapping into emotions and going to those places that need to be written about. ‘Won’, as it turned out, is the product that I have been hearing and picturing in my head as I write and listen to music.” It is the product of what happens when you push past the fear of what it means to think out loud - to become accountable for your internal struggles by way of manifesting your ideas into songs that are then free to grow apart from you, to exist on their own while always remaining specifically implicative of you. Now backed by a full band, each track manages to remain piercingly intimate, sometimes brief and always honest, while gaining a wholly new sense of gestation both sonically and lyrically.

                                                                  TRACK LISTING

                                                                  Asktell
                                                                  Perfect
                                                                  Face Off
                                                                  Red Dawn
                                                                  Fitchburg State
                                                                  Slow
                                                                  Get Lost
                                                                  Summer Sleeper
                                                                  Fate
                                                                  Static BurnC

                                                                  Dinner

                                                                  New Work

                                                                    Dinner is Danish producer and singer Anders Rhedin. Following the release of his EP collection and last year’s debut album, ‘Psychic Lovers’, the now LA-based artist presents New Work on Captured Tracks.

                                                                    With ‘New Work’, Dinner had a wish to do things differently. “I just needed to get back to the approach I used when I was still self-releasing cassettes, back in Copenhagen. I spent way too much time on the previous record. I was sitting in front of a computer-screen alone for seven months working on it, obsessing over it. This time I wanted to work very fast in order to think less. I wanted to collaborate more. I hoped that other people’s presence would keep my perfectionism in check.”

                                                                    Dinner enlisted Josh da Costa (Regal Degal, Ducktails) to produce the album with him. He and Josh worked in the night time at off hours at a studio in an industrial part of downtown LA. The album’s songs were recorded on the spot with no preparation time. In-between studio sessions, Dinner recorded and overdubbed material in his apartment on an early 80s 4-track recorder.

                                                                    “We did very little editing, we just tried to record what was there. You’ll hear a lot of first-takes on the record. The best part of the process was driving home early in the morning though the empty streets of LA, listening to the night’s recordings. Because it was such an immediate experience.”

                                                                    The two previous Dinner releases were recorded in Berlin and Copenhagen with mostly European musicians. This isn’t the case on ‘New Work’, which features performances by Andy White (Tonstartssbandht), Charlie Hilton (Blouse), Rori McCarthy (Infinite Bisous, Connan Moccasin), Staz Lindes (Paranoyds) and a duet with Sean Nicholas Savage. “A lot of my favorite music is American. I thought it would be fun to go a little bit less Euro on this one. I’m plenty Euro by myself, some might say. I wanted to add a different color.”

                                                                    Asked to describe the sound of ‘New Work’ after the first listen, Captured Tracks owner Mike Sniper texted: “Julian Cope, 60’s Baroque Pop, early 70’s Canterbury Sound, Japan, Ryuichi Sakamato, ‘Raspberry Beret’-era Prince... Need to listen a few more times before anything concrete comes!”

                                                                    TRACK LISTING

                                                                    Un-American Woman
                                                                    Don’t Belong
                                                                    Walk Away
                                                                    Siren Song
                                                                    Marble Eyes
                                                                    Illusions
                                                                    Get Real
                                                                    Copenhagen
                                                                    Waitin’
                                                                    Thwl

                                                                    “Parquet Courts has toured several times with Naomi Punk, and we’ve all become close friends. I’ve seen them more times than I have most any band. In a record store in Austin, in a vintage clothing store in Seattle, a dive bar in Portland and a hotel bar on Victoria Island. I’ve played the hottest and most uncomfortable show with them and PC Worship in Brooklyn. I don’t remember when I first heard of this mysterious album Yellow, but it must have been some time ago, because for the last few years, whenever I would meet Travis, Neil and Nick, the first words from my lips would be “when’s Yellow drop?

                                                                    “It was at the Showbox in Seattle were I first heard songs that were going to be on Yellow. My knowledge of Naomi’s live repertoire was that of a dedicated fan, so when I heard something unfamiliar from them, I knew I was witnessing a special moment. I was watching their set with my brother, and after a few songs we glance at each other knowing that we were finally passing into the Yellow era. Wherever Naomi Punk had been going this whole time, they had just arrived.

                                                                    “So now I listen to this masterpiece in the comfort of my home, and still I’m standing there at the Showbox, watching one of my favorite bands in awe and joy. I’m listening to the sounds of three hearts that have synchronized into rhythm the speed they’ve been accelerating to since they met. I’m listening to the sound of Olympia and America and planet Earth and 2017 and suddenly it doesn’t feel so gloomy, and I feel so lucky to have met these boys and to have been touched by their music and to call them friends. And I just hope the world realizes how lucky it is to have them.” - Andrew Savage (Parquet Courts)

                                                                    TRACK LISTING

                                                                    1.Introduction I
                                                                    2.Introduction II
                                                                    3.Chernobyl Carrot
                                                                    4.Cookie
                                                                    5.Cardboard
                                                                    6.Thru The Trees
                                                                    7.Chapter II
                                                                    8.Tiger Pipe 04:49
                                                                    9.My Shadow
                                                                    10.Gotham Brake
                                                                    11.The Sound Of Music
                                                                    12.Scorpion Demo
                                                                    13.Perfect
                                                                    14.On Mi Mind
                                                                    15.Scorpion Glue
                                                                    16.Matroska
                                                                    17.Yellow Cone Hat
                                                                    18.Carniceria
                                                                    19.Motorcade
                                                                    20.Chains 
                                                                    21.Taurus
                                                                    22.70 Cents
                                                                    23.Journey To The Top
                                                                    24.Cookie II
                                                                    25.Scorpion Theme

                                                                    Captured Tracks have the album you've all been waiting for. Mac Demarco's 'This Old Dog' is finally upon us and for long-term fans or new listeners alike, it's a treat. Starting with the warming tribute, 'My Old Man' which begins rich with woody CR78 percussion and sumptuous acoustic guitar, soon to break into Demarco's unmistakeable vocal drawl. As the chorus grows from the tapestry of sound, the warmth of the reticent synth swells surrounds the stero image in a comforting blanket of organic haze. It's indicative of Demarco's earlier work, but more confidently approached, brilliantly minimal still but undeniably rich in it's simplicity. 

                                                                    'Baby You're Out' grows from a more off-centred rhythmic approach but undergoes a shuffling transformation to swoon into the folky redux of the main choral refrain, it's an approach that could be jarring but in the capable sonwriting hands of the man himself, it predictably goes by without a hitch. Speaking of transformations, Mac seems to undergo a tranformation himself from shuffled syncopator into sleazy lounge singer in the oozingly laid-back 80's synth sizzle of 'For The First Time'. Decending digital pads and simmering DX7 tines coalesce into a melting-pot of reverb and polyester garments. 

                                                                    There are pieces here like 'Sister' that really display the no-frills talent that has endeared us all to him for so long, comprising of hazy pitch-shifted guitar sitting right back in the mix while heartbreaking lyrics swim ever so briefly around the wistful plucking. 'Dreams From Yesterday' oozes with crackling tubes and hazy summer dreams to counteract the minimal aura of it's precident. And so it continues, from warm and full-bodied to cold and reticent, there isn't a bad moment here, only different emotions conveyed through a variety of techniques, and every one of them perfectly executed. 




                                                                    STAFF COMMENTS

                                                                    Mine says: "Mac DeMarco must be some kind of joke act, right?" Has this thought ever crossed your mind? I came across it in a festival review and I felt for the poor guy who just didn't seem to get what Vernor Winfield McBriare Smith IV (I'll give you a moment to let that settle in...) is all about. If you can relate but somehow feel intrigued, 'This Old Dog' is your perfect entryway into the wacky world of Mac DeMarco. It seems like everyone's favourite sleaze man is trying to show us that he has grown up, without having lost an inch of his quirkiness. It is okay to be vulnerable sometimes, the songs about his troubled relationship with his father seem to confess, just don't bury your head in the sand. 'This Old Dog' is stripped back, simpler and therefore easier to digest than his previous outings. It's dreamy and reflective but always light-hearted, and will leave you with a warm, fuzzy feeling in your chest. Careful, though, you might feel like you're floating on a cloud.

                                                                    TRACK LISTING

                                                                    1. My Old Man
                                                                    2. This Old Dog
                                                                    3. Baby You’re Out
                                                                    4. For The First Time
                                                                    5. One Another
                                                                    6. Still Beating
                                                                    7. Sister
                                                                    8. Dreams From Yesterday
                                                                    9. A Wolf Who Wears Sheeps Clothes
                                                                    10. One More Love Song
                                                                    11. On The Level
                                                                    12. Moonlight On The River
                                                                    13. Watching Him Fade Away

                                                                    Gabriella Cohen’s debut solo full-length is the product of ten days and two microphones. Co-produced alongside close friend, bandmate and engineer Kate ‘Babyshakes’ Dillon, the record is the result of what Cohen describes as the “ceremony” of reflecting on a relationship.

                                                                    The album’s raw, personal side could be traced back to its place of birth at Dillon’s parents’ place in the country, or to the Brisbane streets the songs were composed in. The songs are soaked in the kind of aching nostalgia that is tinged with equal measures of sadness and triumph. On ‘I Don’t Feel So Alive’ Cohen warns: “This could be the last time we get together” and on one hand it’s melancholy but it’s in the spirit of endings that are also beginnings. After finishing the record, Cohen and Dillon hit the road down Australia’s East Coast, from Brisbane to Melbourne, a truck full of instruments and gear following in their wake.

                                                                    There are two sides to Cohen’s coin though - for every moment of raw, cutting emotion, there’s one of otherworldly ethereality. It’s what makes the record feel timeless, which doesn’t mean old-fashioned - it means that the vocoder on ‘Feelin’ Fine’ and the fuzzy, frenzied drums of ‘Alien Anthem’ don’t feel at odds with the dreamy, ambling melodies and old-school ethos at the heart of Cohen’s songwriting.

                                                                    ‘Full Closure And No Details’ is a definitional labour of love: when Cohen talks about her collaborators she sounds like she’s talking about her family - her bass player and backing singers, ring-ins that recorded after Cohen and Dillon finished up in the country, are ‘dear friends’; and Dillon is her ‘sister’. The songs were written on Cohen’s grandpa’s nylon string guitar and ‘Piano Song’ was recorded on Dillon’s parents’ old, out-of-tune upright, the same piano she learned on as a child.

                                                                    “‘Full Closure And No Details’ is quietly impressive - a slowburning fusion of defiance and heartache.” - The Guardian

                                                                    TRACK LISTING

                                                                    Beachs
                                                                    I Don’t Feel So Alive
                                                                    Sever The Walls
                                                                    Yesterday
                                                                    Piano Song
                                                                    Feelin’ Fine
                                                                    Downtown
                                                                    Dream Song
                                                                    This Could Be Love
                                                                    Alien Anthem

                                                                    Matteo Vallicelli

                                                                    Primo

                                                                      Matteo Vallicelli is an Italian drummer and composer, best known as the live drummer of The Soft Moon and Death Index and as a founding member of many renowned Italian punk bands. This winter he debuts his first solo project, ‘Primo’, on Captured Tracks.

                                                                      In 2013, Vallicelli relocated from the ancient neighbourhood of Trastevere in Rome to the ever-changing Kreuzberg district in Berlin. This dramatic uprooting acted as a catalyst, inspiring him to try and make music on his own. Heavily inspired by the pulsating techno scene of the German capital, Vallicelli began experimenting with synthesizers and drum machines. Recording sounds onto his computer and cassette tapes led him to create a massive collection of loops and samples, sometimes in protracted home sessions where he wouldn’t leave his apartment for days.

                                                                      For Vallicelli, the transition from playing drums in punk bands to sitting alone in his home studio, working on minimalistic electronic compositions, has dramatically shifted his music career. “Being in charge of everything can be disorienting. Having no other band members to work or fight with… I would end up with hours of music that I would endlessly edit on my computer. It took me years to learn how to limit myself, to finish up a project and move on to something else. But, as soon as I mastered that, I was able to assemble my first album quickly.”

                                                                      Songs like ‘Michelangelo’ and ‘Frammenti’ were born as techno tracks but, through subtraction, became something different and more representative of the introspective state in which they were created. These two tracks opened up a path for the rest of the music on the Primo, in which most of the songs have no traces of drums or percussive elements, marking a new, liberating way for Vallicelli to make music. The result of three years of experimentation, Primo is ultimately an exercise in self-limitation and discovery.

                                                                      TRACK LISTING

                                                                      Frammenti
                                                                      Nuova Notte
                                                                      Il Balletto Delle Stelle
                                                                      Lacrime In Estate
                                                                      Giungla Elettrica
                                                                      Lausitzer Platz
                                                                      Michelangelo
                                                                      Arpeggio Due
                                                                      Come Un Gatto
                                                                      Futuro
                                                                      Ore Di Tempesta

                                                                      In May of 1979, UK native Martin Newell was 26 years old and in transition. He’d just split up with his girlfriend and moved out of the Colchester house they’d shared for four years. A month later, Newell also stepped down as the singer for Gypp, a band he’d been in for three years. Though they had a great live reputation and a strong regional following, Newell, with some misgivings, felt their music was out-of-step with the times. That same year he turned down the offer of a literature degree course at university as well. He had a part time washing-up job, a guitar and a room in a rambling, boho house. He could just tear the whole thing down and start again.

                                                                      That summer friend and recording engineer Dave Hoser heard some of Newell’s demos and offered to help record them on his 4-track equipment, dubbed ‘The Octopus Mobile’. With some of Newell’s former optimism and energy restored, he put together a new band: the then 23- year-old drummer Michael ‘Stix’ Natkanski, former Gypp bass player Tony Phillips and Braintree guitarist Malcolm Burch (AKA Max Volume). Calling themselves The Stray Trolleys, the music here predates Newell’s work as The Cleaners From Venus and the bulk of the sessions on their sole album, ‘Barricades And Angels’, were recorded at Octopus Studios during spring and summer of 1980. Amazingly, although they had little to no rehearsals, all backing tracks were recorded fairly quickly and everyone got on well, especially in the pub afterwards.

                                                                      CD and LP digital download card include bonus track ‘Mrs. Killer’.

                                                                      TRACK LISTING

                                                                      Secret Dreams Of A Kitchen Porter
                                                                      A Bluebeak Kit
                                                                      Governor’s Only Daughter New Age Dreamer
                                                                      Stiletto Love
                                                                      Gunslinger
                                                                      Love Into Action
                                                                      Ten Million Years
                                                                      Flamingo Road
                                                                      Finding Out
                                                                      Barricades & Angels
                                                                      No Static
                                                                      Days Of Firebirds
                                                                      Mrs. Killer *
                                                                      * = CD & LP (Via LP Digital Download Card) Only

                                                                      When EZTV lead singer, songwriter and guitarist Ezra Tenenbaum sings, “Facedown on the concrete, While I dream of wider streets” on ‘States Of Confusion’ you can hear weariness in his voice and a touch of wistful ‘what if’ longing for more room, a little less hassle, a few more trees... maybe even a garage to park the 8-track machine.

                                                                      The shining ‘High Flying Faith’ - the first song written for the album - is a refutation of urban weariness, its title perhaps acting as a makeshift motto for the optimism (and stubbornness) that is key to New York bands like EZTV. Inspired by the lyrics of ‘Broken Heart’ by Skip Spence, it’s a 12-string-propelled nugget that best shows how EZTV operate: toeing the line between past and present, with a keen ear for left-of-the-dial experimentation that never lets the songs hew too far into pastiche and genre nostalgia.

                                                                      Many of the band’s foundational inspirations - the Feelies’ upstart jangle, the upside-down pop architecture of Arthur Russell’s power pop band The Necessaries, Shoes’ aching harmonies - are back in play on ‘High In Place’, their sophomore album, though new instruments and feels abound throughout. Produced and engineered by the band themselves, a baby grand piano rings and 12-string acoustic guitars shimmer throughout the album, recalling the cleareyed production techniques of Jeff Lynne.

                                                                      Taking advantage of tour stopovers, trips to attend weddings, or even just commandeering someone’s vacation for a few days, EZTV invited some likeminds and fellow songwriters into the studio - Jenny Lewis, Chris Cohen, Martin Courtney and Matt Kallman of Real Estate, John Andrews of Quilt, Nic Hessler and Mega Bog - to guest on ‘High In Place’.

                                                                      Aptly recorded on a tape machine purchased from a Lower East Side Studio that was going out of business, in a space where the New York City skyline both loomed and inspired through its glass windows, ‘High In Place’ is an album of golden pop songs worthy of any era.

                                                                      “Low on drama but high on seemingly effortless jangle pop brilliance, [debut] ‘Calling Out’ feels like a long-lost classic and an exciting discovery.” - All Music

                                                                      TRACK LISTING

                                                                      High Flying Faith
                                                                      Racing Country
                                                                      Reason To Run
                                                                      Clear
                                                                      States Of Confusion
                                                                      Hammock
                                                                      Temporary Gold
                                                                      Still
                                                                      How Long’s It Gonna Be
                                                                      Goodbye Morning

                                                                      Jamil Rashad, aka Boulevards, is the embodiment of funk. Taking queues from pioneers such as Prince, Rick James, and Earth Wind & Fire, Boulevards seamlessly delivers cheeky, party-themed jams that range from raw and risqué to soulful on his debut LP 'Groove!'

                                                                      From an early age, Jamil’s father, a R&B Radio DJ, exposed him to jazz, blues, and R&B. This pushed him to get involved in the city’s local music scene early on in his youth. In his teens, he embraced the punk and metal scene in his hometown of Raleigh, NC; genres that would later go on to influence Rashad’s songwriting by way of their tight technical precision and power. After an art school education and several stints in local bands, Jamil rediscovered and returned to his first true love: funk.

                                                                      Boulevards evokes a spirit from a time that combined intricate production with a focus on rhythm and getting people back on the dancefloor. With Groove!, Boulevards does just that. On tracks like “Patience”, Rashad melds pop with vintage hip-hop elements - think Eddie Murphy meets The Sugarhill Gang - and it just works. “Cold Call” introduces a slow hypnotic groove before a symphony of synths, creating a rhythmic cadence that stays with you even after the party is over. However, to give 'Groove!' merit solely based on nostalgia would be a mistake. Groove! is not just a rework of a classic sound - it is an intelligent collection, an evolution to reign in a new era of funk - heard via the disco pulses on tracks like “Weekend Love” and “Up On Your Love”, nodding to industry giants like Pharrell and Breakbot.

                                                                      Bringing back producers Roller Girl! and Taste Nasa, who helped craft his critically received self-titled EP. 'Groove!' delivers catchy songwriting, infectious bass lines, and plenty of hooks to keep you grooving until dawn, a clear indicator that there is still room for funk in 2016 - and that room will be occupied by Boulevards.

                                                                      TRACK LISTING

                                                                      Set The Tone
                                                                      Got To Go
                                                                      Up On Your Love
                                                                      Move And Shout
                                                                      Cold Call
                                                                      Running Back
                                                                      Patience
                                                                      The Spot
                                                                      Talk To Me
                                                                      Tender
                                                                      Love And Dance
                                                                      Weekend Love

                                                                      Dinner is Danish producer and singer Anders Rhedin. Dinner leads a nomadic existence, dividing his time between Los Angeles, Copenhagen and Berlin. So far Dinner has released three EPs and a guided hypnosis tape. Now he presents his debut album ‘Psychic Lovers’.

                                                                      Whether the finished album lives up to Dinner’s vision only Dinner knows. Musically, the album exists in its own space between the 1980s, 1990s and the present. The songs are pop songs held together by somewhat idiosyncratic arrangements.

                                                                      Opener ‘Cool As Ice’ sounds like the soundtrack to David Lynch directing ‘Miami Vice’ with overdriven synthetic strings and an equally eerie and funky slap bass that slowly grow into a pop structure.

                                                                      ‘Turn Me On’ invokes the feeling of Sade recorded on VHS fronted by Klaus Nomi’s baryton-possessed ghost, or a warped jingle from The Home Shopping Network.

                                                                      The song ‘Lie’ has distinct Nico-esque undertones and John Cale-ish overtones wrapped in 1980s melancholy, while ‘Wake Up’ and ‘The World’ explore inverted 90s Euro-pop.

                                                                      In the words of mix-engineer Filip Nicolic (Poolside), “The whole album sounds like Chimo Bayo produced by Marquis de Sade.” An even more concise definition of Dinner comes from labelmate Mac Demarco: “Great face, great body, great tunes.”

                                                                      TRACK LISTING

                                                                      Cool As Ice
                                                                      The World
                                                                      Turn Me On
                                                                      Gone
                                                                      What You Got
                                                                      Wake Up
                                                                      Holy Fuck!
                                                                      A.F.Y.
                                                                      Lie
                                                                      Kali, Take Me Home

                                                                      Charlie Hilton, known up until now for her work in the band Blouse, has now forged a new identity with her debut solo album, ‘Palana’.

                                                                      It should come as no surprise that many of the songs on ‘Palana’ are concerned with shifting characters, forms and ideas. The album’s title itself is a nod to Hilton’s given Sanskrit name, an identity she shed completely after high school in favour of the androgynous ‘Charlie’ and Palana’s overarching theme can be summed up by a quote from Hermen Hesse’s Steppenwolf, a phrase Hilton cites as a personal mantra: “Man is not by any means of fixed and enduring form… he is much more an experiment and a transition”

                                                                      Enlisting Unknown Mortal Orchestra’s Jacob Portrait as producer, Hilton freely experimented with diverse sounds and moods - some minimal and some cacophonous - out of the confines of a band structure. ‘Funny Anyway’ is truly stark, featuring only string accompaniments, with Hilton assuming a role akin to a confessional French chanteuse, while ‘Let’s Go To A Party’ is Hilton’s cheeky take on an icy dance track with thick, bouncing synths and a chorus that echoes “I’m only happy when I’m dancing.” Alternatively, tracks like ‘Pony’ harken back to the psychedelic strengths of Blouse, saluting bands like Broadcast and United States Of America and then there’s ‘100 Million’, the sole track produced by Woods’ Jarvis Taveniere that rounds out the album in a soft, acoustic and light-hearted way with labelmate Mac DeMarco lending his talents on percussion and back-up vocals.

                                                                      This wide range of moods on ‘Palana’ recall several of Hilton’s key influences - the solemn beauty of Nico, the whimsical nature of Marc Bolan and the naïveté of Jonathan Richman - but the album is undeniably the work of one artist, perhaps best summed up by the artist herself: “The music on this record is diverse, but so is the inside of a person. I feel like I’m many people.”

                                                                      STAFF COMMENTS

                                                                      Andy says: A very good record that's hard to pin down, as it mixes lots of styles from krautrock grooves, dream-pop floatiness, psych and library sounds, blending the electronic with the organic in such a clever way. Stereolab fans will love this.

                                                                      TRACK LISTING

                                                                      Palana
                                                                      Something For Us All
                                                                      Pony
                                                                      Long Goodbye
                                                                      Funny Anyway
                                                                      WHY
                                                                      Let’s Go To A Party
                                                                      Snow
                                                                      The Young
                                                                      No One Will
                                                                      100 Million

                                                                      It wouldn’t be entirely accurate to say that EZTV met while trying out for J Spaceman’s latest US touring line-up of Spiritualized but it’s not far from the truth. Songwriter and audio engineer Ezra Tenenbaum had been casually working on solo home recordings on his Tascam 8-Track in the vein of Shoes, Emitt Rhodes and Cleaners For Venus and, in a desire to round out the songs, he enlisted bassist Shane O’Connell and drummer Michael Stasiak (formerly of Widowspeak). As it happened, the trio’s first chance to play together was an audition for the American touring version of Spiritualized (they didn’t get the job) but the trio kept meeting and working, turning Ezra recording as a solo artist into Ezra, Shane and Michael playing as a band; thus, EZTV was formed.

                                                                      With a pool of over 30 demos to work with and Jarvis Taveniere of Woods onboard to produce, the band headed to Thump Studios in Greenpoint, Brooklyn, to record their debut al;bum for Captured Tracks. The result is ‘Calling Out’, a cohesive 12 song statement in the long tradition of fully realized debuts, stripped of artifice but full of hooks and songwriting chops.

                                                                      Tracks like ‘The Light’ exhibit what you would call the EZTV mantra: presenting songs with only the required embellishments. They’ve got one foot firmly planted in classic American power pop and college rock while the other utilizes more left-of-the-dial sonic experimentation. The result is a sound that’s both familiar and new but always about the songs.

                                                                      In an era of independent music with a lot more emphasis placed on story and meaningless Twitter feuds, EZTV present a record that speaks for itself. It’s an album made for an audience that doesn’t want or need any kind of angle or controversy but desires songs that resonate and have a lasting appeal, something available here in spades.

                                                                      “[‘Calling Out’] was recorded with assistance from Jarvis Taveniere, member of perennial folk crew Woods, and one of the Brooklyn guitar-pop scene’s most reliable producer-engineers. Based on ‘Calling Out’s feel-good first single, ‘The Light’, it seems like it was a fruitful collaboration; despite being hinged on pretty sparse instrumentation - including a string of stoned, earworm-y guitar solos—the song sounds big and warm.” - The Fader

                                                                      TRACK LISTING

                                                                      Bury Your Heart
                                                                      Pretty Torn Up
                                                                      The Light
                                                                      Hard To Believe
                                                                      Everything Was Changing
                                                                      Soft Tension
                                                                      Dust In The Sky
                                                                      Blue Buzz
                                                                      Trampoline
                                                                      There Goes My Girl
                                                                      Long Way To Go
                                                                      That’s Where You Belong

                                                                      Gayna Florence Perry and Robin Surtees are perhaps best known for their work with cult Eighties band Shiny Two Shiny. Signed to Red Flame Records, they released one mini LP entitled ‘Halfway Across The Rainbow’ and one single ‘Waiting For us’ c/w ‘Ritual Hate’, in 7” and 12” formats. A mixture of bright and breezy synth pop with some darker undercurrents both records made a dent in the indie charts gaining positive reviews in the music press for releases and live appearances and acclaim from John Peel as well as daytime airplay on Radio 1. They also toured Europe and appeared on TV. At the start of 1984 the band played at the ‘Big Brother’ music festival at the ICA in London, supporting Pink Industry. But by this time the writing was on the wall for Shiny Two Shiny.

                                                                      TRACK LISTING

                                                                      1. Waiting For Us
                                                                      2. Razzamatazz
                                                                      3. Concentration
                                                                      4. Through The Glass
                                                                      5. Grey
                                                                      6. Moment To Moment
                                                                      7. Rain
                                                                      8. Ritual Hate
                                                                      9. Susquehanna
                                                                      10. Waiting For Us (12” Single Mix)
                                                                      11 . Seven Four ( Live In Brussels)
                                                                      12. Boy From Ipanema
                                                                      13. Waiting For Us 7”
                                                                      14. Wake

                                                                      The legendary lo-fi band Cleaners from Venus formed in the small town of Wivenhoe, southeast England at the turn of 1980s by Martin Newell. The man, the myth, but to rock singer and part-time kitchen porter with a love of sunny 1960s pop music, punk rock and musical comedy. He never cared much for any kind of musical rule book and broke new ground with music that garnered a cult following and a highly-influential sound that continues to inspire. These 4 albums are the final chapter in the unveiling of the entire discography from the band, spanning the end of Martin Newell's long, storied run as the Cleaners from Venus (1985-1992). Included are Living with Victoria Grey, Number Thirteen and My Back Wages, which Newell considers a new release as it is finally being released as he originally intended it. The fourth album is a collection of rarities and unreleased material from the time that My Back Wages was recorded, called Extra Wages.


                                                                      TRACK LISTING

                                                                      Living With Victoria Grey:
                                                                      01. Victoria Grey (1)
                                                                      02 . Ilya Kuryakin Looked At Me
                                                                      03. Clara Bow
                                                                      04. Follow The Plough
                                                                      05. Stay On
                                                                      06. What’s Going On (In Your Heart)
                                                                      07. The Mercury Girl
                                                                      08. Armistice Day
                                                                      09. Pearl
                                                                      10. Victoria Grey (2)

                                                                      Number Thirteen:
                                                                      01. The Jangling Man
                                                                      02. No Go (for Louis Macneice)
                                                                      03. Mariette
                                                                      04. Man For Our Time
                                                                      05. Here She Crashes
                                                                      06. A St Reet Called Prospect
                                                                      07. Minesweeping Memory Lane
                                                                      08. Germayne (Like A Cathedral )
                                                                      09. Boy From The Home Counties
                                                                      10. The Tear Collector
                                                                      11. Christmas In Suburbia

                                                                      My Back Wages:
                                                                      01. Stay Lit
                                                                      02. Gulf War Song
                                                                      03. Smash Yore Watch
                                                                      04. You Should Have Called
                                                                      05. Arcadian Boys
                                                                      06. Crane Driver
                                                                      07 She Rings The Changes
                                                                      08 Before The Hurricane
                                                                      09. Clara Bow
                                                                      10. When My Ship Comes In
                                                                      11. Incident In A Greatcoat

                                                                      Extra Wages:
                                                                      1. It Could Have Been Cheryl
                                                                      2. The Iceberg And Unicorn
                                                                      3. The World Strikes One
                                                                      4. The Princes Of Suburbia
                                                                      5. Rusty Iron Sun
                                                                      6. Gatecrashing Oyster Park
                                                                      7. Finding My Own Way Home
                                                                      8. Red Guitars And Silver Tam
                                                                      9. Everytime I Go Up
                                                                      10. The Green Gold Girl Of The
                                                                      11. We'll Build A House

                                                                      Milk N Cookies

                                                                      Not Enough Girls / Nots

                                                                        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                        Milk n Cookies are the stuff of legends – or would be legends.

                                                                        Forming in the early 70s on Long Island, NY this power pop group was originally signed to Island Records and seemed destined for greatness. Yet through many cases of wrong place wrong time the band never managed to break. The core line up of the band was made up of Ian North, Justin Stauss, Sal Maida and Mike Ruiz and in their time they played classic NYC venues like CBGB’s & Max’s Kansas City and shared bills with everyone from Talking Heads to The Ramones.

                                                                        The band have amassed a cult following influencing the likes of Thurston Moore (Sonic Youth) and Debbie Harry (Blondie).

                                                                        Consider this 7” a small taste of what’s to come from Captured Track’s deluxe 3xLP reissue.

                                                                        Limited to 100 copies for the UK and Ireland.

                                                                        Medicine

                                                                        Part Time Punks Live

                                                                          THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                                                          After the August release of their new LP ‘To The Happy Few’, shoegaze pioneers Medicine continue to embellish their return from an 18 year hiatus with this radio session at Part Time Punks.

                                                                          Following their first show in nearly two decades, Medicine add to an already rich creative and sonic legacy which has seen singer Beth Thompson, guitarist/vocalist Brad Laner, and drummer Jim Goodall continually challenge the barriers of melody and noise in their LPs ‘Shot Forth Self Living’ (1992), ‘The Buried Life’ (1993) and ‘Her Highness’ (1995).

                                                                          This beautiful, very limited tri-color wax LP is only available for RSD.

                                                                          Limited to 200 copies for the UK and Ireland.

                                                                          'Salad Days', is the follow up to 2012's lauded 'Mac DeMarco 2' which saw the Edmonton local propelled into the limelight. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), 'Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format.

                                                                          The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "..never been reluctant to share, passing out pieces of me.." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory.

                                                                          Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon/Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now.

                                                                          STAFF COMMENTS

                                                                          Ryan says: Having set the tone with his second album ‘2’ back in 2012 with an ode to cheap cigarettes and song after song of whimsical ambivalence, Mac Demarco offers up some fresh delights for us to sink our teeth into. This time there’s a few darker moments from the haunting synthpop masterpiece “Chamber Of Reflection” to a frosty “Passing Out Pieces” revealing the toll touring the world has taken on him. When Demarco isn’t passing out pieces he takes the time to dish out some of his best gap-toothed advice yet with “Let Her Go” and “Treat Her Better” topping it all off with his usual brand of crooning vocals, languid guitars and those ridiculously funky basslines, a definite step up from the last album. Mac takes things a little (only a tiny bit) more seriously this time and pulls off his best record yet!

                                                                          TRACK LISTING

                                                                          1. Salad Days
                                                                          2. Blue Boy
                                                                          3. Brother
                                                                          4. Let Her Go
                                                                          5. Goodbye Weekend
                                                                          6. Let My Baby Stay
                                                                          7. Passing Out Pieces
                                                                          8. Treat Her Better
                                                                          9. Chamber Of Reflection
                                                                          10. Go Easy
                                                                          11. Jonny's Odyssey

                                                                          Perfect Pussy are one of the boldest and most intriguing projects to surface in recent years, garnering widespread critical acclaim following the release of a four song EP, titled I have lost all desire for feeling. Veiled beneath layers of exquisitely abrasive noise, frontwoman Meredith Graves’ lyrics are disarming, brutally honest and poetic, possessing a feverish intensity that can only be matched by Graves’ electric stage presence. Hailing from Syracuse, New York, the band is comprised of members from the local punk and hardcore community.

                                                                          Since releasing their 4 song demo cassette I Have Lost All Desire for Feeling in late 2013, Perfect Pussy have taken the music world by storm. Their harsh yet refreshing lyrics paired with the assaulting vocals of singer Meredith Graves drew in audiences from all crowds. While often muffled by the wall of sound built buy the guitar, bass, drums and synth, it is the brutal truths of Graves’ lyrics and the power of her live delivery that has had everyone from Rolling Stone to Pitchfork to The New York Times praising the power of this rising band. With Say Yes to Love Perfect Pussy have begun to hone their sound while retaining the rough around the edges noise that first drew listeners in. The first track, “Driver”, grabs the listner and drags them into the chaotic world of this brief but powerful album. The songs kick and punch but it is the dense, honest lyrics that will make the listener feel the most. Filled with conflict and confidence and despare and desire, these are songs that stay with the listener long after the album has ended.

                                                                          “These punk kids from the mean streets of Syracuse, New York, deliver high-energy slabs of mayhem-friendly post punk noise, a wall of guitar and Casio. Meredith Graves knows how to run her mosh pit like a dictator runs a birthday party.” Rolling Stone.

                                                                          “In just four short songs, Perfect Pussy has spoken more truths than many artists with 20-year-spanning discographies, and with news of a debut full-length in the works, now is probably a good time to start bracing yourselves. It might get a little uncomfortable, but trust me, the shake-up is worth it.” Complex.

                                                                          “One of the boldest new rock bands.” Pitchfork.

                                                                          TRACK LISTING

                                                                          1. Driver (2:16)
                                                                          2. Bells (1:41)
                                                                          3. Big Stars (2:19)
                                                                          4. Work (2:08)
                                                                          5. Interference Fits (3:30)
                                                                          6. Dig (1:23)
                                                                          7. Advance Upon The Real (5:04)
                                                                          8. VII (4:36)

                                                                          Soft Metals is an electronic duo formed in 2009 by Ian Hicks and Patricia Hall currently based in Los Angeles, California. They met in late 2008 at a DJ night hosted by Patricia in Portland. Work began on their self produced, self recorded 2nd LP "Lenses" in the summer of 2012. They sketched out what would become the song "Lenses" and work then continued into the fall and winter. When they went into recording album 2 they wanted to focus more on a sound with beats and rhythms you can move your body to, melodies you can connect with emotionally, and vocals that coax your mind into a dreamy introspective luminal space.

                                                                          The idea behind "Lenses" is about breaking out of thought patterns and previously held ways of seeing yourself and the surrounding world. Lenses; a continuation of their ethos aiming directly at your body and subconscious mind with an intimacy that only lovers can bring. The song “Lenses” describes the experience of shifted consciousness with the lyrics “breaking through my perception of you, breaking through my concept of life”. It celebrates the feeling of escape from a mind imprisoned with lack of presence and stuck in habit all set to an earnest beat and lush enigmatic melodies that entwine and seduce.

                                                                          “Tell Me”, “No Turning Back”, When I Look Into Your Eyes” expresses that nervous, vulnerable feeling of falling for someone, but questioning the reality of the situation asking “Is this love true? Or are we just lost in lust?”, “when you said you loved me, I laid my whole life down”, “When I look into your eyes, I wonder if we’ll meld”. “In the Air”, perhaps the most movement inspiring track of the album, is a dense, pulsating piece about the power of nature, the effects of seasonal changes on all living things that rule over sexuality, productivity, and inspiration- the basis of man’s various forms of mysticism.

                                                                          TRACK LISTING

                                                                          1. Lenses
                                                                          2. Tell Me
                                                                          3. When I Look Into Your Eyes
                                                                          4. No Turning Back
                                                                          5. Hourglass
                                                                          6. On A Cloud
                                                                          7. In The Air
                                                                          8. Interobserver

                                                                          A strong love for classic 60s/70s guitar pop (Beach Boys, Beatles) as well as soft spots for Prince and Hall & Oates display his self proclaimed 'fascination with pop music'. While his influences certainly shape his work, it is his natural ear for melody and movement which make Calder's work both fluid and engaging.

                                                                          His knack and ambition both in his song writing and production provide a solid foundation for Calder's music to drift in an out of psychy realms. There are no over drenched chorus or walls of sound, instead leaving space for melody and texture to beneatly co-existent. Alex has found the sweet spot between slacker-pop jangle and snug rhymtic production to create reassurance his songs are going somewhere. Intimate handclaps and shakers make it easy for one to visualize the living from which it came as Calder's questions what to do with his time both literally and existentially.

                                                                          TRACK LISTING

                                                                          1. Sukie And Me
                                                                          2. Light Leave Your Eyes
                                                                          3. Location
                                                                          4. Time
                                                                          5. Captivate
                                                                          6. Fatal Delay
                                                                          7. Lethargic

                                                                          Widowspeak is an American band comprised of Molly Hamilton and Robert Earl Thomas, known for its dreamy, western-tinged take on rock and roll. Their self-titled debut was praised for its reverential spaciousness (no. 10 in the Piccadilly End Of Year Chart 2011), Hamilton’s haunting voice, and Thomas’s sinister Morricone-esque guitar lines.

                                                                          On their second album, Almanac, the duo explores denser arrangements and new sonic territory, from Saharan rhythms to Appalachian-inspired melodies, all delivered with stoic, wistful restraint. Named after those annual tomes which provide agricultural advice, chart weather patterns and astronomocal phenomena, Almanac likewise tracks the life and death of seasons, youth, love, and the cyclical nature of all things.

                                                                          The album was recorded by Kevin McMahon (Swans, Real Estate) in a hundred year old barn in the Hudson River Valley of New York State during the transition from summer to fall. Producing with McMahon, Thomas expanded on the band’s demos, crafting layers of guitar, Rhodes piano, organ and harmonium.

                                                                          TRACK LISTING

                                                                          1. Perennials
                                                                          2. Dyed In The Wool
                                                                          3. The Dark Age
                                                                          4. Thick As Thieves
                                                                          5. Almanac
                                                                          6. Ballad Of The Golden Hour
                                                                          7. Devil Knows
                                                                          8. Sore Eyes
                                                                          9. Locusts
                                                                          10. Minnewaska
                                                                          11. Spirit Is Willing
                                                                          12. Storm King

                                                                          Blissed Out Fatalists

                                                                          Blissed Out Fatalists

                                                                            The Blissed Out Fatalists, was a band formed in Los Angeles by Nic Greene and Jeff Poe in the aftermath of 1980s noise band The Blue Daisies. Having spent some months together as house painters, they passed the time throwing ideas of the ultimate band back and forth, and began to conceptualize the project before a note was struck. BOF was born out of a mutual admiration for the Butthole Surfers’ Rembrandt Pussyhorse, Elmore James, and Jesus And Mary Chain, aiming to find a psychic sweet spot between heroic duos Suicide and Guitar Slim & Jelly Belly. Fourwaycross frontman Biff Sanders came on board to produce the album whilst later adding some humanity to the drums. Jon Lyon was enlisted on account of his supreme guitar noodling ability and access to stimulants, most ably represented on The Leather Nun cover 'Can You Feel It'. Recording at Biff's studios above the Danceland at Pico and Figueroa, BOF was able to enhance its sound adding layers of harmony and noise. The album Blissed Out Fatalists came out in 1987, a posthumous release. It garnered good press and feedback from the college / indie scene but was heavily reviled by the majors who would only catch on to the grunge scene many years later.

                                                                            TRACK LISTING

                                                                            1. Everything And Nothing At All (3:06)
                                                                            2. Don’t Stand Far Away (3:48)
                                                                            3. Spiral (2:50)
                                                                            4. Fatalator (2:13)
                                                                            5. Can You Feel It (3:51)
                                                                            6. Right Now (3:24)
                                                                            7. Right Out (6:34)
                                                                            8. Last Song (4:33)

                                                                            Half Church

                                                                            Half Church 1980 - 1986

                                                                              Sometime in the middle of 1980, Tom “Jinks” Durkan ventured to California from Shepherds Bush, London, and settled in Palo Alto. His goal, besides escaping from London, was to find musicians and form a band. Jinks met drummer Bob Gaynor, guitarist Rick Tedeschi, and bass player Monte Vallier and Half Church was born. Following a series of local shows and demos, the original 4 members decided that a move to Jink’s hometown of London was the next logical step. And in January 1981, just as Ronald Reagan was being sworn in to office, the band flew to the UK where a whole slew of songs were written and recorded for their first EP (the highly sought-after “In Turmoil”). The band returned to the Bay Area later in the year and resumed shows and recording, getting tighter as a band all the while. Half Church played their last show at the San Jose Convention Center opening for Red Lorry Yellow Lorry in 1986 and the band members went their separate ways.

                                                                              TRACK LISTING

                                                                              1. TV Screen (3:20)
                                                                              2. Red Planes (4:20)
                                                                              3. Turmoil (2:26)
                                                                              4. Paradise (3:26)
                                                                              5. Attention Span (2:21)
                                                                              6. Final Goodbye (4:07)
                                                                              7. Remember (3:05)
                                                                              8. Highground (4:11)
                                                                              9. Problems (5:23)
                                                                              10. Fractions (4:48)

                                                                              Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, “2” is a concerted effort to produce a cohesive work that showcases Mac’s natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm “Cooking Up Something Good” to the heartfelt “My Kind of Woman.” It’s obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. “Freaking out the Neighborhood,” Mac’s apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

                                                                              STAFF COMMENTS

                                                                              Ryan says: His first full album, full of quirky garage gems, slightly odd but in a good way... I think it's awesome anyway.

                                                                              TRACK LISTING

                                                                              1. Cooking Up Something Good
                                                                              2. Dreamin'
                                                                              3. Freaking Out The Neighborhood
                                                                              4. Annie
                                                                              5. Ode To Viceroy
                                                                              6. Robson Girl
                                                                              7. The Stars Keep On Calling My Name
                                                                              8. My Kind Of Woman
                                                                              9. Boe Zaah
                                                                              10. Sherrill
                                                                              11. Still Together

                                                                              Optimism is infectious, and there can be few more optimistic statements than the title of the new album from Dignan Porch: Nothing Bad Will Ever Happen. As you listen to the warm-hearted, weirdo pop within, as you’re drawn into their world, you might be inclined to agree with them. Nothing Bad Will Ever Happen is Dignan Porch’s second album, though in many ways it’s their first. 2010’s debut, Tendrils, was written and recorded as a solo concern by singer Joe Walsh. Here, he’s joined by the full band, comprising brother Sam Walsh plus close friends Ben Goodwin, Hayley Akins and Stephen Keane. Recorded at Homerton’s Sound Savers studio with Henry Withers (Lovvers / Sharm El Shakes) Mark Jasper (Bastard Sword) and Alex Clegg (Breathe Out), The album was taped live on reel-to-reel tape with minimal overdubs.

                                                                              The resulting album is a thing of raw beauty, its melancholy melodies shining through the fuzz and filth, singers Joe and Hayley crushing you with emotion throughout. “Each song,” says Joe, “is a little snapshot of whatever feelings and thoughts were happening at the time. Often I’ll start a song and it’ll begin with some sad stuff about an ex-girlfriend or something and then by the end I’m writing about time travel. I connect all the parts and make it flow. I think it’s a short attention span thing, don’t focus too long on one subject.”

                                                                              Based in Tooting, South London, Dignan Porch began with Joe recording what he describes as “weird fuzzy pop songs” on a basic Tascam 8-track recorder, a collage of ideas and layered melodies that touched on noise-pop, psychedelic garage rock and melancholic folk. “The name ‘Dignan Porch’ doesn’t mean anything,” says Joe (in case you were wondering). “It’s just a combination of two words that at the time of creation, seemed to capture the vibe of the band.” Quaint as it seems now, the music was discovered on MySpace by Brooklyn’s tastemaking Captured Tracks label, who released Tendrils in 2010. Dignan Porch are not just the only UK band to be signed to Captured Tracks, they’re also the only band in the stable to release a second album on the same. Band and label both share a distinctly DIY ethos: keyboard player/singer Hayley supplies the artwork for Nothing Bad Will Ever Happen, and they all work together to create their own music videos, screen print their own T-shirts, and book their own tours. “We do everything apart from release the records,” says Joe. With Captured Tracks behind them, that’s a pretty good way to be.

                                                                              TRACK LISTING

                                                                              Picking Up Dust
                                                                              Sad Shape
                                                                              She Is Landing
                                                                              Darkness
                                                                              TV Shows
                                                                              Pink Oil
                                                                              Sleep With The Dead
                                                                              Never
                                                                              Sixteen Hits
                                                                              And Are Now Not
                                                                              Cancelled TV Shows
                                                                              Interlude
                                                                              You Win You Win

                                                                              Texas native John Pena began writing and performing under the Heavenly Beat guise in the latter part of 2009. John emerged from his bedroom after months of leisurely paced recording with a couple of tracks that would become his first release on Captured Tracks in the form of the 7 inch single “Suday”. Being influenced by nothing in particular has payed off as many have had trouble pinning the sound down as anything other than “immaculately arranged and paced” and “attractive music for attractive people”. Thus again proving that just because you’ve heard a song by The Cure or Neil Young doesn’t mean you have to ape it shamelessly to gain wide acceptance. Shortly after the release of “Suday” Heavenly Beat released the A side “Faithless” for their forthcoming 2nd single, igniting not only the blog world but the interest of the uninformed few who might have missed “Suday”. By paying homage to no one but himself, John Pena’s band has become one to watch in 2012.

                                                                              “Heavenly Beat is the solo project of Beach Fossil’s John Pena, described in a super-adept pun by Oh My Rockness as ‘piña colada pop.’ Pena sings about being hurt inside and out, but the party drums and guitars suggest only good times. The perfect song is a little of both.” The Fader.

                                                                              STAFF COMMENTS

                                                                              Ryan says: Noticably different from his work in Beach Fossils, Jon Pena shows us what he's made of. Songs like Faithless just trigger super-8 movies in my head of people running into waves and it just looks like the most fun ever.

                                                                              TRACK LISTING

                                                                              1. Lust
                                                                              2. Messiah
                                                                              3. Faithless
                                                                              4. Tolerance
                                                                              5. Elite
                                                                              6. Talent
                                                                              7. Hurting
                                                                              8. Tradition
                                                                              9. Presence
                                                                              10. Influence
                                                                              11. Consensual

                                                                              JESSE RUINS is a Tokyo-based unit (NOBUYUKI SAKUMA and NAH), formed in the spring of 2010 by Sakuma as his solo project. He released a cassette (already sold out) on Cuz Me Pain (the independent label in Tokyo), then joined in Cuz Me Pain's first compilation LP in the same year. In 2011, Nah joined in Jesse Ruins. After some tracks picked up on Gorilla vs Bear and etc., they released their first 7 on Double Denim Records. In December 2011, they signed to Captured Tracks. Six tracks.


                                                                              TRACK LISTING

                                                                              1. Dream Analysis
                                                                              2. Inner Ambient
                                                                              3. Lust & Fame
                                                                              4. I Knew It
                                                                              5. Shatter The Jewel
                                                                              6. Sofija
                                                                              A Bookshelf Sinks Into The Sand*
                                                                              In Icarus*

                                                                              *CD Only

                                                                              Formed in the Fall of 1991 by Brandon Capps (guitar & vocals), Kimber Lanning (drums), and Tim Patterson (bass), half string created a lush, guitar-driven brand of noise pop that sounded far removed from Tempe, Arizona and the commercial “desert jangle” sound usually associated with the local bands of that era. While the group shared an aesthetic with much of the British shoegaze scene, and occasionally recalled the spirit of early 4AD and Factory Records, they certainly carved out a beautiful noise of their own. During their austere six-year life, half string inspired an underground music scene in their hometown, and gained a small but loyal following from beyond the desert.

                                                                              half string’s first demo was hand delivered to Independent Project Records’ Bruce Licher during the summer of 1992. Impressed, Licher released the three songs as the Eclipse 7” single on his revered post-punk fine art imprint. Matt Kruse joined on second guitar in 1993, adding another layer of texture and intricate melody to the band’s broadening sound. This was evident on “Oval,” half string’s second single, and the subsequent Tripped Up Breathing EP, both released by IPR in 1994. Patterson left the band that winter, and was replaced by Dave Rogers, a multi-instrumentalist who added backing vocals. In 1995, Germany’s Pop Goes On! and IPR co-released Eclipse*Oval*Hue, a CD mini-album collecting together the first two singles along with three unreleased tracks. Later that same year, the group recorded their debut album, A Fascination With Heights. Issued by IPR in 1996, this would be half string’s last release before the band parted amicably the following summer.


                                                                              TRACK LISTING

                                                                              1. Eclipse
                                                                              2. Maps For Sleep
                                                                              3. Arc-Fold
                                                                              4. Pelican
                                                                              5. Slow Engine Kill Over
                                                                              6. Oval
                                                                              7. Sun Less Sea
                                                                              8. Hue
                                                                              9. Evergreen
                                                                              10. Quiet Like Seeds
                                                                              11. Slipknot
                                                                              12. Breif As Photographs
                                                                              13. Landscape Burning (1991 Home Recording)
                                                                              14. Tripped Up Breathing (1991 Demo)
                                                                              15. Saturine (1993 Live- Beautiful Noise Festival)
                                                                              16. Eyesick (1994 Studio Outtake)
                                                                              17. Featherwright (1994 Demo)

                                                                              Debut EP from the Canadian eccentric Mac Demarco. This record of weirdo blues rock is amazing. Think Scott Walker meets Ariel Pink. Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery.

                                                                              DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. Come March DeMarco's debut solo EP entitled Rock And Roll Night Club will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.


                                                                              TRACK LISTING

                                                                              1. Rock And Roll Night Club
                                                                              2. 96.7 The Pipe
                                                                              3. Baby's Wearing Blue Jeans
                                                                              4. One More Tear To Cry
                                                                              5. European Vegas
                                                                              6. 106.2 Breeze FM
                                                                              7. She's Really All I Need
                                                                              8. Moving Like Mike
                                                                              9. Me And Jon, Hanging On
                                                                              10. I'm A Man
                                                                              11. Only You
                                                                              12. Me & Mine

                                                                              As the first contribution to the Captured Tracks' Shoegaze Archives series, Should offers 'A Folding Sieve'. This classic take on the genre lends waves of euphoric dream pop sounds similar to My Bloody Valentine. This album was originally released in 1995 under the name shiFT by the Austin based record label ND.

                                                                              The LP version includes the original release's tracks as well as "Faded" and "Own Two Feet", all songs on vinyl for the first time. CD has 6 tracks of unreleased material also. (Vinyl comes with DL code that has all tracks).


                                                                              Coming up on a year since their debut self titled LP release (one of the best albums of 2010, hands down!), The Soft Moon presents 'Total Decay', Luis Vasquez continues to conjure a sound fueled tempest that intoxicates with its own post-apocalyptic dust in this new EP!

                                                                              After two stirring 7" releases and the aforementioned debut album, it was apparent that Vasquez was digging his own niche, an intimate well-spoken whisper, carrying a heavy load of synths that creep and drums that command an uncontrollable pull from within. This intimate peak into another world, Vasquez' mind, has garnered a number of comparisons to some of the most iconic and influential bands of the post punk and krautrock movements.

                                                                              Live, the band takes on Justin Anastasi and Damon Way to help transform the listening experience cogently with an array of sound and light effects that translate the energy of the recordings. 'Total Decay' solidifies that the Soft Moon is on its own path, not to be compared. Just listen, hold the shadow of his hand on this journey into the darkness, as he whispers directions through the obstacles, to the light...


                                                                              TRACK LISTING

                                                                              1. Repetition
                                                                              2. Alive
                                                                              3. Total Decay
                                                                              4. Visions

                                                                              Patricia Hall and her boyfriend Ian Hicks have been enchanting one another with song since the spring of 2009. Their first meeting was an audition. Ian was looking for a voice to compliment his moody, cinematic synthesizer sketches and Patricia hoped to meet the right partner to help put her day dreamy poems and keyboard melodies to music. Their mutual love of early 80s synth pop, the nascent incarnations of house and techno, ebm, krautrock, post punk, and the first wave of industrial music set the course. After a few sessions together the partnership proved to be exactly what they had both been searching for and Soft Metals was born.

                                                                              What began as a collaboration between songwriters soon budded into a passionate love affair. Song lyrics became secret messages, with which Patricia confessed her developing affection for Ian. The Portland-based duo's first five original works together, which became the EP "The Cold World Melts", released on Captured Tracks, is a time capsule of this courtship. This summer marks the release of their first full length, a self-titled release with Captured Tracks.

                                                                              The album is a further expression of their romance, but now - 2 years into their relationship - the two are looking a bit more outward. They explore fantastical soundscapes which conjure the dramatic cinematic worlds of Dario Argento, Roman Polanski, Stanley Kubrick, David Lynch, and the Czech New Wave. Ultra-saturated colors with a touch of noir, opulent architecture, and mysterious femmes all spring to mind. From the deep examinations of the human psyche found in Adam Curtis documentaries (the subject matter of their track "Psychic Driving"), to the controversial bridge between science and the soul via Carl Sagan and Ray Kurzweil, the duo revels in the trans-formative power of love, knowledge, and imagination. The outcome of all this is a collection of bittersweet electronic pop songs balanced by a delicate surrealism, a patient sense of experimentation that leaves you floating in your subconscious and moving to the beat.

                                                                              The sonic landscapes are sleek, but never icy. Even at her most dreamlike, Patricia's vocals reach an eerie beauty that is always deeply emotional. This emotional force is mirrored in her lyrics. For example, the gloriously cinematic "Voices" features our heroine conquering her inner narrative of fear and weakness and finding the vitality to achieve her dreams. In "Pain," Hall sings the word with an almost brazen confidence. "It's that pain," she coos, in a song about the sometimes oceanic distance that develops between two souls, as though her familiarity with pain is so deep that she can begin to play with it. Finally, the vintage synthesizers and drum machines evoke a Space Age dreamer's vision of the future as evidenced most clearly in the gorgeously atmospheric "Celestial Call". Soft Metals have a strange nostalgia for a place not yet visited - a place where we live among the stars.

                                                                              STAFF COMMENTS

                                                                              Darryl says: Superb synthwave pop that incorporates elements of Italo disco, house and early industrial music. On the always reliable Captured Tracks label.

                                                                              TRACK LISTING

                                                                              1. Psychic Driving
                                                                              2. Always
                                                                              3. Voices
                                                                              4. Celestial Call
                                                                              5. The Cold World Melts
                                                                              6. Hold My Breath
                                                                              7. Eyes Closed
                                                                              8. Pain
                                                                              9. Do You Remember
                                                                              10. In Throes

                                                                              Hoop Dreams have managed to make an unlikely thing occur: A second C/T signing from Blacksburg, VA. Mining similar influences as their contemporaries, the young sextet bring an emotive and exciting sense of urgency to the table that only anticipates what should be a great debut LP.

                                                                              "There are relatively few labels left whose logo can be considered a true stamp of approval, but for many people Captured Tracks is one of those. Hoop Dreams fit perfectly into their roster; a band from Virginia that sound like they could be from Manchester, they make clattering, slightly neurotic pop songs in the vein of a deconstructed Cure." - The Line of Best Fit (Song of the Day).

                                                                              STAFF COMMENTS

                                                                              Laura says: Yet another gem from Captured Tracks! Clattering, jangling, melodic pop, with nods to everything from Postcard Records to Joy Division.

                                                                              Thieves Like Us

                                                                              Your Love Runs Still

                                                                                Long-running European/American trio release their first record with Captured Tracks, the whoozy and beautiful "Your Love Runs Still" 4 song EP. A longtime favorite of all of us at the label, we're thrilled to start working with the band that was a constant on our Best of 2010 Year-End List.

                                                                                Further Reductions

                                                                                Decidedly So / Not Unknown

                                                                                Brooklyn, NY's Further Reductions have been building up a reputation for a while and we finally have some vinyl to show it off. Working with electronic instrumentation but not limited to electronic influences alone, Reductions are carving out their own niche of sad, beautiful pop music.

                                                                                'Thru the gates of forever and into the frozen vapours of Mannattan's minimal electronic monolith in the night, Further Reductions, Shawn O'Sullivan (of Led Er Est knowings) and collaborator Katie Rose are weaving a web of reverberatory wonderment. One of not just a few of the minimal synth couple outfit armies to emerge from New York's ever living and breathing clan of the same epithet, this masculine/feminine dream drone dichotomy's synthesized incantations drift like gleaming analogue jewels of dark incandescent dance dew. Voices with the echoes of youth sung wistfully into in the well and steeped in the myst of minor discord float inside Familiar Flights'. - La Maladie Tropicale.


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